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https://thebluemoment.com/2018/12/05/eric-dolphy-still-out-there/
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en
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Eric Dolphy, still out there
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2018-12-05T00:00:00
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When I think about Eric Dolphy, I wonder what he would be doing now, had he not died of undiagnosed diabetes in a Berlin hospital in 1964, aged 36. Quite a lot of the more adventurously astringent music to be heard today at Cafe Oto in London, The Stone in New York or Sowieso in…
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en
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https://s1.wp.com/i/favicon.ico
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thebluemoment.com
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https://thebluemoment.com/2018/12/05/eric-dolphy-still-out-there/
|
When I think about Eric Dolphy, I wonder what he would be doing now, had he not died of undiagnosed diabetes in a Berlin hospital in 1964, aged 36. Quite a lot of the more adventurously astringent music to be heard today at Cafe Oto in London, The Stone in New York or Sowieso in Berlin could be described as Dolphyesque, in that it launches itself from a jazz platform in search of a relationship with other idioms, in particular the techniques of various forms of modern classical music.
He would have turned 90 this year, and there’s no doubt that he would have used those lost years productively, extending his already formidable vocabulary on alto saxophone, bass clarinet and flute, continuing to develop a personal improvising voice that — like his great contemporary Ornette Coleman, but in a very different way — moved beyond the influence of Charlie Parker, and exploring the possibilities of new instrumental groupings and compositional techniques. Just imagine a Dolphy quintet album with Ambrose Akinmusire, Alexander Hawkins, Thomas Morgan and Tyshawn Sorey!
A new release from Resonance Records provides a fine illustration of the things he was up to in the couple of years before he died, and of how modern he still sounds. After an apprenticeship with Chico Hamilton, Dolphy came to the attention of the jazz world primarily through his work with John Coltrane and Charles Mingus, but he found a path to his own music, to be heard on such albums as Out There (Prestige, 1960), the marvellous series of quintet recordings at the Five Spot with Booker Little from 1961 (also Prestige), and the celebrated Out to Lunch! (Blue Note, 1964).
The Resonance collection, called Musical Prophet and currently available as a triple vinyl set, is based on two days of studio sessions supervised by the producer Alan Douglas for his own label in New York over two days in July 1963. The sessions featured various instrumental combinations from a pool of mostly young players: Woody Shaw (trumpet), Sonny Simmons (alto), Prince Lawsha (flute), Clifford Jordan (tenor), Bobby Hutcherson (vibes), Richard Davis or Eddie Kahn (bass), J. C. Moses or Charles Moffett (drums), and the veteran Garvin Bushell on bassoon. It seems to have been typical of Dolphy’s generosity of spirit that he made solo space for other musicians who played his instruments (Simmons in particular), and featured compositions other than his own.
Two albums, Conversations and Iron Man, were issued from these sessions, but the new set also contains outtakes of all the original tracks, and more besides. Given the relatively small size of Dolphy’s output during his short recording career, anything new is particularly welcome, and it’s a treat to hear — for instance — a pithier version of Lawsha’s Caribbean-inflected “Music Matador”, two extra takes of the solo alto treatment of the standard “Love Me”, and the astonishingly inventive solos by Dolphy and the 18-year-old Shaw on an alternate take of “Mandrake” that is stronger than the one originally selected.
There’s also a bonus track from another session: a 15-minute piece called “A Personal Statement”, originally included under the title “Jim Crow” on an album culled from random tapes left by Dolphy with some friends and released by Blue Note in 1987 under the title Other Aspects. It now transpires that this striking piece was written by the pianist Bob James for his own trio, plus Dolphy and a counter-tenor, David Schwarz, and recorded in Ann Arbor, Michigan, in March 1964, shortly before Dolphy left for what turned out to be his final trip to Europe. The fact that Dolphy didn’t write it, and that James would soon (after recording a trio album for ESP) turn away from the avant-garde towards an engagement with the more commercial form of jazz that made him famous, doesn’t make it any less interesting; it also means that Dolphy recognised the promise in these young musicians, who were students at the time.
For me, however, the heart of this set is the second of its six sides, entirely devoted to duets between Dolphy’s bass clarinet and the bass of Richard Davis: two virtuosi in conversation. The first of the three tracks, the originally released 13-minute take of “Alone Together”, is a known masterpiece (and there is another take, previously unreleased, on the final disc). The second and the third pieces, two takes of a composition by the pianist Roland Hanna called “Muses for Richard Davis”, slowly explore the timbral relationship between the two instruments with enormous care, subtlety and beauty. You can ignore the track breaks and treat the side as one half-hour piece: half an hour of genius.
* Musical Prophet: The Expanded 1963 Studio Session is out now as a vinyl limited edition and will be released on CD on January 25. The photograph above, by the German jazz photographer Hans Harzheim, appears in the lavish booklet, along with the work of Francis Wolff, Val Wilmer and other photographers, and many essays and interviews with musicians whose lives Eric Dolphy touched.
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https://forums.stevehoffman.tv/threads/the-paul-horn-appreciation-thread.1116099/
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en
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the Paul Horn Appreciation thread
|
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Am I all alone here in admiration of Paul Horn? Maybe I’m reading the wrong sources, but from the get-go he seems to be almost casually dismissed. I...
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/the-paul-horn-appreciation-thread.1116099/
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Am I all alone here in admiration of Paul Horn? Maybe I’m reading the wrong sources, but from the get-go he seems to be almost casually dismissed. I didn’t know a thing about him, none of it, not even the Godfather of New Age business, when I first read his name in connection to Chico Hamilton’s band. My takeaway was that the Chico-Paul Horn band was in some some sort of creative-identity-struggle period for Hamilton after the original Buddy Collette band broke up. And then of course after Paul came Dolphy, and that’s what got many people curious, myself included. So Paul Horn got lost in the shuffle, and it took years to finally check the band out. But when I finally did? I was thrilled! The guy leapt right out of the speakers. I couldn’t believe he wasn’t better known and thus the fascination began, continuing for years now as I keep digging and finding gems (and my taste evolves!).
This is a contemporary view. Paul Horn’s early recording career clearly shows he was afforded many an opportunity and knew how to work the game, sign on the dotted line. And when, I guess, he couldn’t make ends meet – here it comes – he Sold Out and produced Easy Listening “dreck.” And when that didn’t work out he ran off to the Ashram, stumbled upon a hippie formula, and that’s all she wrote.
An easy synopsis, but (nearly) none of it TRUE. But yes, this accounts for much of his dismissal. Self-inflicted? A bit. Unfair? YES! YES! YES!
And Paul Horn has single-handedly made the flute an instrument I WANT to listen to (Ron Burgundy not-withstanding).
So hopefully there our other fans present that will join in, or at least this will serve as a catalyst to check him out. He’s super fun to collect and, outside the early jazz, wonderfully affordable.
I’m going on a binge -- in no particular order – and will comment here as I do so.
Paul Horn – A Special Edition (1974)
I did pick this one on purpose to kick off the binge. For whatever reason I long mistook this for a compilation of previously released early jazz tracks. What a nice revelation! This is an unsung jazz album (w/electric guitar & bass) recorded (mostly?) live perhaps as early as 1971 (no, PH didn’t quit “real” jazz in ’63). Great mix of material. A bit of the space incantation, a brief rock out, some complex mellow chill, Jobim, modern standards & ballads, and a long dose of abstract-folkloric jazz – including the theme to the twilight zone? That had to be intentional! A budget-priced ECM before ECM? A great place to start as it comes with a big photo booklet of the Paul Horn timeline, family album style, starting with Mom & Dad and up to the (1974) present. In the liners Paul states that he had a ½ hour television variety show that featured the quintet. Ran for 18 weeks plus pilot. Where did those tapes go?! Surprisingly released on Island in the USA. The Black Sun CD reissue includes a well-executed facsimile of the vinyl booklet.
I promise to be less wordy going ahead.
I don’t clutter things up with photos (there’s this place called discogs)
And links, well, are links. Everyone hates getting those.
Welcome to the Paul Horn Appreciation thread.
The Lalo Collabs:
Paul Horn – Jazz Suite On The Mass Texts – Composed And Conducted by Lalo Schifrin (1965)
This one is a doozy. At times it is incredibly dense and layered, so much going on. It almost seems like prepared tape and live instrumentation is at play (like a Varèse fever dream). Most impressively recorded November 5th & 6th, 1964. This was Paul’s 2nd album for RCA Victor. This came in the middle of his easy listening stretch (tho’ in reality he already had a long history of easy listening jazz, just not so prominently under his own name). Quite a juxtaposition. The Stereo edition is brighter and airier (Heaven) compared to the Mono being downright penetrating and harsh (Hell). The Credo is terrifying on both. How this won Lalo a Grammy for Best Jazz Composition is fairly mind-blowing. This thing would clear a room and be labeled Satanic in 2021.
Paul Horn – Dream Machine – Composed, Arranged & Conducted by Lalo Schifrin (1978)
Disco, baby! Fusion! Synths Galore! All those session guys. One of those in endless supply jazz-funk groovers, except it’s not just 1 or 2 tracks that make it, but the whole damn thing. Badass vibes all the way. Be the hero in your own cop show. Seduce a dame. The DJs and hip-hoppers have picked up on this one.
Cool stuff, which I sorta commented on below. I don't have the Christmas one ("The PEACE Album," I think it's called) but maybe I'll go for it in time for the December season. Massively multi-tracked "solo" flute if I recall correctly. Thanks for your observation!
Inside the Great Pyramid (1977)
Listening in the air is quite soothing. Listening on headphones can have one looking over their shoulder.
For all the healing properties and mumbo jumbo, remember these were recorded in a pitch black, once-sealed tomb housing dead bodies. Another inspired, conceptual classic. The original album issue is a must with the art gallery worthy embossed gold-blue cover art and documentation (be sure to get the one with 2 separate inserts), but the obsessed will also need the extended (by approx. 35 minutes) 2cd edition on Kuckkuck with new liners by PH and excellent sound. Paul had yet to market the concept to death, this being only the 2nd true Inside album, 9 years after the first (there is an Inside II album that was released before, but that’s another story coming soon).
That's incredibly cool. Might there be audio tapes floating around that document the live shows?
Here's a PH comment on the collaboration that I just so happened to read just last night:
"Another change in Horn’s orientation came when he toured with pop folk-singer Donovan in the late 60s. With Donovan, Horn discovered that communication might be more important than technique.
“Donovan is not a developed musician,” recalled Horn. “He’s not a Barney Kessel on guitar or Howard Roberts or Django Reinhart or any great guitar player. He plays simple chords and he has a nice, pleasing voice. I just saw that he got 25,000 people to be quiet. And he once made a comment to me, he said ‘My ultimate goal is to play a number and get the audience so quiet that they can’t even raise their hands to clap at the end. That would be my ultimate achievement as a performer’. And I thought that was pretty amazing to even come up with that concept.”"
Paul Horn - Non-LP 7 inchers:
1963: O'Apito No Samba/Whistle While You Work (2/15/1963?) Columbia
1969: Green Jelly Beans / Dancing Children (5/16/1969?) Epic
1971: Joy / The Desert Is A Circle ("Theme from the motion picture "El Topo") Paramount
1972: Haida & Paul Horn (1972) Sealand of The Pacific
1963: A&R schemes for a radio hit. Throw promos out there and see what sticks (It Failed). It’s played insanely quick. Someone held a stopwatch and said it must be 2 minutes and 10 seconds including fade.
1969: Epic Records, after Inside toppled the Nation. I guess A&R figured to pump a 7” out immediately to capitalize. Lord knows where and when this recording came from. Sounds like a sub-basement dub re-mix of the 1966 easy listening material. Narcotic.
1971: Another cross-marketing effort. Promos of “…Desert…” b/w “…Desert…” are everywhere. It’s the cinematic, funky JOY that is the rarity and coveted by DJs around the globe. Supposedly it had a picture sleeve (all type, black on white). A fantastic 7”.
1972: Haida is a whale, a killer, an orca. PH & Haida hereby commune. The Great Mystery is whether this is a LIVE recording as suggested or studio trickery. See Inside II for further details. I’d like to think it real and in-the-moment. Paul is great, as always, but this didn’t do much for Haida’s career. Just didn’t have the talent or stamina for the record biz, I reckon. Great picture sleeve. Guess these were sold in person to the tourists. I wonder if Paul saw the Blackfin doc before he moved on and regretted this episode.
Paul Horn Quintet – Cycle (1965)
Bagpipes! This is better than I remembered. Biased coming off what came before and it didn’t help that the opening track is Greensleeves followed by Chim Chim Cheree (both of which really cook here and -- not to scare you -- turn out to be highlights). The PH authored title cut is great and sounds progressively ahead of its time, like something a fusion band of the 70s would write. Each side closes with the short “Shadows #1” and “Shadows #2 (Dedicated to Ravi Shankar).” Contemplative, mostly improv, more depressingly funereal than glowingly reverential. Side 2 kick off is a drag cover, the worst track on the album, followed by another number with bagpipes (NOT played by PH!) that raises the blood levels. Then “Patterns,” an entertaining but ultimately failed vehicle for too brief solo turns (it starts out promising, like something Steve Reich would have tried), and we return to the Ravi worship to end the album on a bummer note.
Short Version: What a mess! In desperate need of re-sequencing or a total re-imagining using outtakes (if there are any, the lack thereof might BE the problem). Then again, seems I have A LOT to say about this record! This was Paul’s first release (of five) for his new label, RCA Victor. The times they done been a-changed.
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https://www.allaboutjazz.com/chico-hamilton-the-master-chico-hamilton-by-maxwell-chandler
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en
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Chico Hamilton: The Master article @ All About Jazz
|
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[
"Interview",
"Chico Hamilton: The Master",
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[
"Maxwell Chandler",
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2021-09-20T00:00:00
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Chico Hamilton: The Master article by Maxwell Chandler, published on September 20, 2021 at All About Jazz. Find more Interview articles
|
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https://www.allaboutjazz.com/icon/favicon.ico
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https://www.amazon.com/Chico-Hamilton-Special-Quintet/dp/B01E780IQG
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https://www.instagram.com/jazzphotoarchives/reel/C-DLnRkv_94/
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https://www.grimygoods.com/2022/07/28/vintage-gold-chico-hamilton-the-enigmatic-jazz-drummer-and-band-leader/
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en
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Vintage Gold: Chico Hamilton, the Enigmatic Jazz Drummer and Band Leader
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"Patricia Sanchez"
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2022-07-28T00:00:00
|
<p>During his decades-long career, Afro-Mexican drummer and band leader Foreststorn “Chico” Hamilton would become incredibly influential in the ever changing and growing genre of jazz music. A subtle, yet creative drummer, he is best remembered for the series of quintents he led throughout 1955-1965. During that time, he and his jazz bands would play such […]</p>
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en
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https://www.grimygoods.com/wp-content/themes/grimiergoods/favicon.ico
|
Grimy Goods
|
https://www.grimygoods.com/2022/07/28/vintage-gold-chico-hamilton-the-enigmatic-jazz-drummer-and-band-leader/
|
During his decades-long career, Afro-Mexican drummer and band leader Foreststorn “Chico” Hamilton would become incredibly influential in the ever changing and growing genre of jazz music. A subtle, yet creative drummer, he is best remembered for the series of quintents he led throughout 1955-1965. During that time, he and his jazz bands would play such fusions as cool jazz, post bop, and more, combining unique elements of multiple genres to create a larger than life sound. Hamilton’s music and band leadership exemplifies a great high point for jazz music in the 1950s and 1960s.
Hamilton, born and raised in Los Angeles in a multi-racial household, first picked up drumming in high school, and soon, he was playing with other talented peers, many of whom would go on to become fine musicians themselves, including Dexter Gordon, Illinois Jacquet, Charles Mingus, Ernie Royal, Buddy Collette and Jack Kelso.
Hamilton’s overall sound is hard to encapsulate in any one mode, mood or even genre. Approaching composition (of a song or band) with a broad and sweeping style, his music moves quickly, spryly and with gusto. His 1965 album El Chico features an array of fun and challenging compositions that blend an unorthodox pairing of genres such as bossa, swing and rumba, all meeting at the intersection of jazz.
A great drummer, though with a more laid back approach than some of his contemporaries, Hamilton was even more keen at spotting other talented players in the jazz scene. His quintets and other bands were highly sought after and featured other prominent players in the music scene; his first album as a band leader in 1955 was formed with George Duvivier (double bass) and Howard Roberts (guitar).
That same year, he formed the Chico Hamilton Quintet, a rather unusual construction featuring cello, flute, saxes, clarinet, bass and drums. This band is arguably considered one of the last important West Coast jazz bands and essential to the formation of the cool jazz music scene that sprouted in California during that time.
MUST-SEE UPCOMING CONCERTS IN LA!
The Chico Hamilton Quintet was extremely popular, and their performance during “Jazz on a Summer’s Day,” a concert film set at the 1958 Newport Jazz Festival in Rhode Island, was a particularly memorable performance for the group and a standout scene in the documentary film.
Throughout his career, Hamilton also wrote and composed music for major motion pictures and for commercials including the films “Sweet Smell of Success” (1957), where the band itself was also featured in the film, and “Repulsion” (1965). His tracks “The Sage” and “Blue Sand” were also featured in two of PT Anderson’s films; the former in “Boogie Nights” (1997) and the latter in “Licorice Pizza” (2021).
Now passed on, Hamilton’s music is still finding an audience amongst jazz lovers and those who love eclectic, timeless music. The ebb an flow of his career never deterred him from continuing with his music, and as musical tasted changed, he adjusted and found outlets to stay relevant and in the scene, even if it was behind the screen of motion pictures.
His music can be found on many streaming platforms including Spotify and Apple Music, and many of his songs can be found on YouTube.
Words: Patti Sanchez
This post may contain affiliate links. Ads and affiliate links are how independent blogs like Grimy Goods can operate. Thank you for supporting our work and being a part of our music community.
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http://mikedolbear.com/groovers-and-shakers/chico-hamilton/
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Chico Hamilton
|
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"Bob Henrit"
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2014-03-28T09:08:58+01:00
|
Foreststorne ‘Chico’ Hamilton was born in Los Angeles on September 20th 1921 and I have to admit he didn’t exactly introduce me to jazz; instead he introduced me to something which for me, as an embryonic rock ‘n’ roll drummer, proved to be very important. The possibilities offered by playing a regular drum kit …
|
en
|
Mike Dolbear
|
http://mikedolbear.com/groovers-and-shakers/chico-hamilton/
|
Foreststorne ‘Chico’ Hamilton was born in Los Angeles on September 20th 1921 and I have to admit he didn’t exactly introduce me to jazz; instead he introduced me to something which for me, as an embryonic rock ‘n’ roll drummer, proved to be very important. The possibilities offered by playing a regular drum kit with tympani mallets! I saw him doing exactly this to a piece called ‘Blue Sands’ in the film ‘Jazz On A Summer’s Day’ – and I was captured.
To set the scene everything about his appearance in the film of the 1958 Newport Jazz Festival with his single-headed Gretsch drum set was fabulous. Chico was the epitome of cool from his narrow-shouldered suit, to his tab-collared shirt, the beads of sweat on his brow and the rhythm he was playing on the drums – and last, but certainly not least, his black ‘sparkle’ Gretsch kit. Chico certainly grabbed my attention in the film but to be honest, so did Jimmy Giuffre who had a rather unusual line-up: himself on clarinet and saxes, a valve trombonist and a guitarist. Giuffre’s music called ‘The Train And The River’ played over the evocative opening scenes of a sun-dappled sea with racing yachts competing against one another in the 1958 Americas’ Cup which was taking place off-shore.
Even though ‘Blue Sands’ exclusively used toms it certainly wasn’t anything like the Latin-side of jazz which moved you to dance – it was much more of an orchestral fusion than that. I was knocked out by the subtle but clear sounds he coaxed out of the drums with his beaters, the hypnotic feel he produced and the way he was able to explore all the toms and still play so quietly. The image of what he was doing then has stayed with me for well over half a century.
If anybody could be credited with inventing ‘West Coast Jazz’ (aka ‘Chamber Jazz’) the most likely contender has to be Chico Hamilton. He made his first record with Slim Gaillard but from 1955 to 2011 made more than sixty albums as a band leader and is generally accepted as being ’The Architect’ of that ‘cool jazz’ style.
His own quintets were unusual in their instrumentations with cello and flute (something which he introduced to jazz) as well as guitar, bass (eventually) and of course drums. But long before all that he performed in LA’s Jefferson High School jazz band with no less than Dexter Gordon, Charles Mingus and Illinois Jacquet before turning professional at 19 with Lionel Hampton prior to a conscripted stint in the US Army in 1942 where he learned to read music with a chap called Billy Exner. In the piece I wrote about Sonny Greer I mentioned Chico was overawed by him (and his pyramid of drums) when he went with his mother as a youngster to see him playing with Duke Ellington. He decided then and there he was going to be a drummer and originally studied drums with Lee Young, who was Lester Young’s brother, before getting some help from Jo Jones. Mostly though he taught himself. When he began one bandleader refused to let him use anything other than brushes and this stood him in great stead while playing with singers. He evidently did this for 15 years and learned to lay down a groove but stay quiet underneath.
Chico Hamilton moved on to play with a very long list of jazz royalty including T-bone Walker, Charlie Barnett, Lester Young, Count Basie and Duke Ellington, Billy Eckstine, Nat King Cole, Sammy Davis jnr, Billie Holliday, Chet Baker and Gerry Mulligan to name but a few. A lot of gigs with these people came before his six year-long residency with Lena Horne which lasted until 1955.
He was an extremely subtle musician who once said: “I’ve always seen the drums as a melodic instrument not a percussive one. I developed a touch – it may not be as loud but it’s mine!” I’m guessing that it was because of this philosophy that he persuaded the Gretsch drum company to make him drums with single heads in the sizes: 12 x 8, 14 x 12, 14 (or 16) x 18, with an 18 (or 20) x 14” bass and a 5.5” deep wood-shell snare drum (and though his 20” bass drum in the ‘Jazz On A Summer’s Day’ film has a front head on with the old curved Gretsch logo but Chico was a very early advocate of removing the resonance head on that drum too to flatten out its sound.) This single-headed thing evidently came about by accident because during the war he was unable to get calf-skin heads for his drums and if he broke a batter head he would simply replace it with the head on the bottom and this would of course make the drum sound more open. He began to like the sound it gave and once he got together with Gretsch, those were the sort of drums he asked them to make for him albeit with slightly deeper-than-normal shells.
Chico was renowned for discovering young talent and Jim Hall, Gabor Szabo, Larry Coryell, Eric Dolphy and Ron Carter are on record as owing a big part of their careers to him.
He was a successful film music writer (his many credits included Roman Polanski’s ‘Repulsion’) and from 1966 was responsible for literally hundreds of TV commercials and records and there’s even a documentary film about him called ‘Dancing To A Different Drummer’. He also made dance records like ‘Conquistadors’ and one of his instrumentals, called ‘Strut’, was evidently successful on the Northern Soul scene and even had its own dance!
He embraced less jazzy sides of music too in the 21st Century recording with the likes of Jaimoe from the Allman brothers, Johnny Otis’s son Shuggie and Little Feat. Charlie Watts actually recorded with his hero Chico in 2001 on an album called ‘Foreststorne’ – there’s one track called ‘Here Comes Charlie Now’ which they played on together. This came about because in an interview with Charlie, Chico’s manager discovered that Chico’s quartet with Gerry Mulligan playing ‘Walking Shoes’ inspired him enough to call himself Chico Watts! This was more than enough for him to put them together in the studios.
Chico was also a vocalist and there’s evidence available of him on the internet singing: ‘Stompin At The Savoy’, ‘It Don’t Mean A Thing If It Ain’t Got That Swing’ and ‘Every Time I Smile’.
When asked by Rick Mattingly what were the favourite memories of his long career he replied: “That’s a difficult question to answer because I seldom look back. Life is one moment to the next so rather than looking back at what I did in the past, I’d rather look forward to the next time I can play!”
To get the essence of Chico Hamilton other than the tracks I’ve already mentioned at least check out ‘Under Paris Skies’, ‘Topsy’, ‘For Mods Only’ and ‘The Dealer’. Nobody made the ‘to 2’ part of a ‘10 to 2’ rhythm on the opening and closing hi hat last as long as Chico and nobody bounced the tip of the stick on the ride cymbal to create rhythm like him either. Listen to Conquistadores!
I know a lot of soon-to-be rockers went to see ‘Jazz On A Summer’s Day’ because, in a laudable attempt to put bums on seats at the Newport Festival by crossing the musical divide, somewhat incongruously Chuck Berry was booked to appear. He’s in the film singing ‘Sweet Little Sixteen’ and incredibly Chuck had the great Jo Jones playing drums with him. Jo, along with the rest of the proper jazz musicians in the pick-up band, looked completely mystified by what was going on!
If you went to see the film for Chuck I’m guessing you’d have been pretty disappointed but for me and a lot of other early sixties drummers, the whole thing was absolutely electrifying – mostly because of Chico Hamilton and ‘Blue Sands’. Who knows, had it not been for Chico, Mick Fleetwood might not have given a thought to using beaters on Albatross and Nick Mason says he definitely wouldn’t have used them on ‘Set He Controls For The Heart Of The Sun’.)
Chico Hamilton was 92 when he died on November 23rd, 2013 but was still playing and even practising up until the end. When asked about why he was still practising at his age his response was: “I practise man. I’d better, there’s too many young players out there. I practise my instrument because I’m still learning how to play it!” He also talked about staying vital and playing drums at an advanced age saying: “I ain’t got nothing else to do!”
Bob Henrit
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CHICO HAMILTON "JAZZ MILESTONES SERIES" LP 1966 GATEFOLD COOL JAZZ
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CHICO HAMILTON "JAZZ MILESTONES SERIES" LP 1966 GATEFOLD COOL JAZZ - Amazon.com Music
|
en
|
https://www.amazon.com/CHICO-HAMILTON-JAZZ-MILESTONES-GATEFOLD/dp/B00M84ZJEI
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Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon
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877
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dbpedia
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3
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https://www.discrepancy-records.com.au/the-chico-hamilton-trio-chico-hamilton-trio-W0-794611
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en
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The Chico Hamilton Trio Chico Hamilton Trio VINYL
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[
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[
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] |
2024-08-21T00:00:00
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Buy The Chico Hamilton Trio Chico Hamilton Trio vinyl today from Discrepancy Records with Fast & Free Delivery Australia's Top Rated Vinyl Record Store
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www.discrepancy-records.com.au
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https://www.discrepancy-records.com.au/the-chico-hamilton-trio-chico-hamilton-trio-W0-794611
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This Privacy Policy describes how your personal information is collected, used, and shared when you visit or make a purchase from discrepancy-records.com.au (the “Site”).
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/page-9
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en
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All Things West Coast Jazz And The Surrounding Scene*
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More of the early Chico Hamilton
Compilation issued 1956 as Pacific Jazz PJ-1220 - Reissue by Toshiba-Emi Limited, Japan in 1971
Recording dates...
|
en
|
/images/apple-touch-icon.png?v=2017a
|
Steve Hoffman Music Forums
|
https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/page-9
|
One album from Cariocas..
Yes a bit in the Freshmen style but more the brazillian Bossa than the Freshman program.
The FF had one album "Voices In Latin" which might be on that line.
An album I really like
"The Chico Hamilton Quintert: Ellington Suite" World Pacific Records WP-1258 - Reissued by King Record Co., Japan in 1983
in the series PACIFIC - UA Jazz Masterpieces (Vol 1) - not metioned on the cover "STEREO"
Original recorded January 9 & 12, 1959 - Original cover painting by Suèo Serisawa in the series "West Coast artists"
Yeah, bossa nova style, but the four part harmonies are inspired on FF into a bossa sound!
Are you absolutely sure about that? I don't think it looks like her at all. (But, I've never seen a photo of her making a similar expression so I could be mistaken)
My favorite June Christy album is "Gone for the Day" I have all of them.
It's definitely June Christy on the Coop! album.
How do you know for real that the girl on that album is June Christy?. I would like to know why you are so sure that she is June, because I do not have that record and perhaps it is written on the back cover somewhere!. Thanks in advance!
I read it in a book, but I'm no longer sure which one. Still, consider the eyebrows.
I agree my guy, I recently did a June Christy purge and I found myself dropping a sizable chunk of her capitol era, BUT KEPT THIS ONE-
|
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877
|
dbpedia
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3
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https://www.freshsoundrecords.com/chico-hamilton-albums/4903-the-chico-hamilton-trio.html
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en
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The Chico Hamilton Trio
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[
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[] | null |
Buy The Chico Hamilton Trio by Chico Hamilton on Blue Sounds Store. Released by Fresh Sound Records.
|
en
|
/img/favicon.ico?1718181534
|
Blue Sounds
|
https://www.freshsoundrecords.com/chico-hamilton-albums/4903-the-chico-hamilton-trio.html
|
These are among the most resourceful jazz trio sessions recorded on the West Coast during the prolific Fifties, replete with all the power, invention and tremendous feeling of the original Chico Hamilton trio. Chicos drumming is superbly complemented by the remarkable musicianship of veteran bassist, George Duvivier, and by two highly creative thennewcomers: guitarists Howard Roberts (1-8) and the great Jim Hall (9- 11). Notable for its consistently imaginative interplay, the playing is also characterized by a surprisingly extensive range of dynamics, tone colors, and rhythmic devices for a trio with this instrumentation. And the writing, variety throughout. Marked by Hamiltons taste, intelligence and innate sense of drama, the set as a whole adds up to an unforgettable musical experience.
|
||||
877
|
dbpedia
|
0
| 34
|
https://www.ranker.com/list/best-chico-hamilton-albums-list/reference
|
en
|
The Best Chico Hamilton Albums of All Time
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https://imgix.ranker.com/list_img_v2/740/1660740/original/best-chico-hamilton-albums-list-u1
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[
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[
"Reference"
] |
2014-06-04T00:00:00
|
The Best Chico Hamilton Albums of All Time, as voted on by fans. Current Top 3: The Dealer, Montreux Festival, Man from Two Worlds
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/best-chico-hamilton-albums-list/reference
|
List of the best Chico Hamilton albums, including pictures of the album covers when available. This Chico Hamilton discography is ranked from best to worst, so the top Chico Hamilton albums can be found at the top of the list. To make it easy for you, we haven't included Chico Hamilton singles, EPs, or compilations, so everything you see here should only be studio albums. If you think the greatest Chico Hamilton album isn't high enough on the list, then be sure to vote for it so it receives the credit it deserves. Make sure you don't just vote for critically acclaimed albums; if you have a favorite Chico Hamilton album, then vote it up, even if it's not necessarily the most popular.
If you want to know, "What is the Best Chico Hamilton album of all time?" or "What are the top Chico Hamilton albums?" then this list will answer your questions. List features albums like Montreux Festival, The Dealer and more!
This list of popular Chico Hamilton CDs has been voted on by music fans around the world, so the order of this list isn't just one person's opinion. Use this fact-based list to make one just like it, then re-rank it to fit your opinion.
|
||
877
|
dbpedia
|
1
| 78
|
https://music.apple.com/us/artist/chico-hamilton/55602
|
en
|
âChico Hamilton
|
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[] |
[] |
[
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"Chico Hamilton",
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"songs",
"Jazz",
"apple music"
] | null |
[] | null |
Listen to music by Chico Hamilton on Apple Music. Find top songs and albums by Chico Hamilton including Daydream, Goodbye Baby Blues and more.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/us/artist/chico-hamilton/55602
| |||||
877
|
dbpedia
|
3
| 36
|
https://archives.nypl.org/admin/components/1747759
|
en
|
archives.nypl.org
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
/images/favicon.ico
| null | ||||||||
877
|
dbpedia
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| 37
|
https://www.jazzmusicarchives.com/album/chico-hamilton/chico-hamilton-trio-introducing-freddy-gambrell
|
en
|
CHICO HAMILTON — Chico Hamilton Trio Introducing Freddy Gambrell (aka Meet Chico Hamilton)
|
http://www.jazzmusicarchives.com/images/covers/thumbnails/chico-hamilton-chico-hamilton-trio-introducing-freddy-gambrell-20130822140459_140.jpg
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Chico Hamilton Trio Introducing Freddy Gambrell (aka Meet Chico Hamilton) is a hard bop music album recording by CHICO HAMILTON released in 1958 on CD, LP/Vinyl and/or cassette. This page includes CHICO HAMILTON Chico Hamilton Trio Introducing Freddy Gambrell (aka Meet Chico Hamilton)'s : cover picture, songs / tracks list, members/musicians and line-up, different releases details, buy online: ebay and amazon, ratings and detailled reviews by some experts, collaborators and members.
|
en
|
/faviconJMA.ico?nocache=1
|
JazzMusicArchives.com
| null |
Album · 1958
Tracklist
A1 Lullaby Of The Leaves 5:45
A2 Reservation Blues 4:51
A3 These Foolish Things 4:07
A4 Ex-Ray`s Friends 4:06
B1 Devil`s Demise 5:37
B2 You`re The Cream In My Coffee 4:16
B3 Midnight Sun 4:40
B4 Five Minutes More 3:06
Line-up/Musicians
Bass – Ben Tucker
Drums – Chico Hamilton
Piano – Freddie Gambrell
About this release
World Pacific Records – PJ-1242 (US)
Recorded at Kimberly Studios, Hollywood March 24, 25 1958
Reissued in 1963 as "Meet Chico Hamilton"(Kimberly – 2019,US)
|
||
877
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dbpedia
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| 62
|
https://public.uclacsrc.aspace.cdlib.org/repositories/2/archival_objects/16036
|
en
|
Man From Two Worlds - Chico Hamilton, undated
|
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en
|
/favicon.ico
| null |
Man From Two Worlds - Chico Hamilton, undated, Box: 28, Folder: 30. The Fire of Life: The Robert Legorreta - Cyclona Collection, CSRC-0500. Chicano Studies Research Center Library.
Man From Two Worlds - Chico Hamilton, undated, Box: 28, Folder: 30. The Fire of Life: The Robert Legorreta - Cyclona Collection, CSRC-0500. Chicano Studies Research Center Library. https://public.uclacsrc.aspace.cdlib.org/repositories/2/archival_objects/16036 Accessed August 26, 2024.
|
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877
|
dbpedia
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1
| 79
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https://www.tiktok.com/discover/toto-came-down-lyrics-what-is-the-name
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en
|
Make Your Day
|
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[] |
[] |
[
""
] | null |
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en
| null | ||||||||
877
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| 35
|
https://www.thevinyldistrict.com/storefront/2013/12/graded-curve-complete-pacific-jazz-recordings-chico-hamilton-quintet/
|
en
|
Graded on a Curve: The Chico Hamilton Quintet, The Complete Pacific Jazz Recordings
|
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2013-12-05T13:15:33+00:00
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On the 25th of November, the great jazz bandleader and drummer Chico Hamilton died at the age of 92. In addition to his various groups, he was also a composer, teacher, abettor of numerous up-and-coming players, and an all-around class-act. He left a large body of work behind to remember him by, but his greatest achievements on record were made with
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en
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The Vinyl District
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https://www.thevinyldistrict.com/storefront/2013/12/graded-curve-complete-pacific-jazz-recordings-chico-hamilton-quintet/
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On the 25th of November, the great jazz bandleader and drummer Chico Hamilton died at the age of 92. In addition to his various groups, he was also a composer, teacher, abettor of numerous up-and-coming players, and an all-around class-act. He left a large body of work behind to remember him by, but his greatest achievements on record were made with his Quintet of the 1950s.
It’s been a few years since I’ve watched it, but I can still vividly recall one of my favorite scenes from Jazz on a Summer’s Day, Bert Stern’s indispensible documentary covering the 1958 Newport Jazz Festival. It occurs early in the film but seems to be happening around dusk, though the timeframe is ambiguous in large part due to the moment taking place not on the festival’s stage or in the audience but in the attic of a nearby house.
In that setting, Chico Hamilton, mallets in hand, rehearses on his drums in preparation for his Quintet’s appearance later that evening. I’m fairly certain a cigarette is clasped between his lips, though I wouldn’t wager anything substantial on that recollection. Without a shadow of a doubt though, Hamilton is practicing shirtless.
Stripping partially down was unquestionably just a common-sense maneuver, since even in tony Newport the attics get humid in the summertime. But it also provided a rare glimpse of a jazzman shaping his art in an everyday manner from deep inside the Great Commercial Era of Modern Jazz. It’s a period that’s become so idealized, mostly by folks born after its dissolution, with its great musicians so heroic, essentially because they defined and elevated a fascinating and incomparable epoch, that a very minor action like the taking off of clothes when hot can seem like a big deal.
Heroic perhaps, but ultimately as human as anybody, and when this fact hits home the worth of the 1950s jazz scene is only intensified. Later in Jazz on a Summer’s Day, the footage cuts to Hamilton on the bandstand with his group, the great Eric Dolphy amongst their number on flute, Stern’s cameras pointed at a variety of strategic angles with the most important focused directly on the drummer.
The film captures his intense, at times severe concentration as he delivers the cyclical rhythms of “Blue Sands,” one of the Quintet’s signature tunes. One sees not an angel gifted with brilliance from the musical gods and making it all look easy, but a man at work navigating the dangers of the complexities in his unit’s invention.
Having a bad night in a club was unfortunate but manageable. This, however, was Newport, and while the event was still a fledgling shindig, the ceremony that accompanied it was already apparent. Even though they’d played there before and were riding the tail-end of their popular peak, Hamilton knew full-well the cameras were documenting the Quintet as they brought the West Coast not just to the hard-bop turf of the East, but to the sail-boating milieu of upper-crust New England.
In terms of myth-breaking and raw humanity, the best jazz film I’ve encountered is Thomas Reichman’s 1968 verité doc Mingus, but the above snippets are nothing to sneeze at. They draw attention to and paint a complete human picture of a vastly important figure, and while his considerable fame shrunk as the music’s retail fortunes declined, Hamilton’s engagement with jazz continued until the end of his life.
While he’d studied with the great rhythm specialist Jo Jones (not to be confused with Philly Joe Jones), made his recording debut with that great jive-slinging hepcat Slim Gaillard, toured with Lionel Hampton, Charlie Barnet and Count Basie, and in 1946 landed the house-drummer spot at Los Angeles club Billy Berg’s, Hamilton’s first major gig began two years later when he commenced extensive live support behind vocalist Lena Horne.
But most important to his eventual long reign as a leader was his role in Gerry Mulligan’s original pianoless quartet of 1952, a group that famously included the trumpeter Chet Baker. With all due respect to Miles Davis’ cornerstone Birth of the Cool sessions, it was this combo that really kick-started West Coast Cool, and it was directly down to a combination of accessibility and experimentation.
The lack of the piano as an anchoring presence meant that bassist Bob Whitlock’s role increased dramatically, making it crucial that he be clearly heard. Thus, Hamilton’s execution needed to be much softer than usual, and this shift in implementation was a prime aspect in how the Mulligan band impacted one of the two main threads in ‘50’s jazz.
And that quieter sensibility encompassed a lot. Softer meant greater ease for audience engagement, but it also meant the attendees had to be quiet and listen. The playing was so strong that nobody complained, and furthermore it was so approachable that hardly anybody noticed the experimental nature; instead they just heard music.
As Cool Jazz surged in popularity largely on the shoulders of the young and handsome (and Caucasian) Baker, this amiable nature gained it a rep as the soundtrack to bachelor playboys and buxom starlets jetting to-and-fro in sleek convertibles on the Pacific Coast Highway. This isn’t a total fabrication, but it is greatly exaggerated, and nothing illustrates this better than an extensive dip into the work of Hamilton’s five-piece group.
The drummer’s debut as a leader actually came via trio with bassist George Duvivier and guitarist Howard Roberts in 1953, but shortly thereafter he assembled his Quintet, which was immediately notable for its intriguing instrumental complexion. Along with Hamilton on drums, there was Carson Smith on bass, the great Jim Hall on guitar, the now somewhat undersung Buddy Collette on saxophone, clarinet and flute, and most importantly, Fred Katz on cello.
While there’s never any doubt that Hamilton is in charge of the Quintet’s creative direction, in many ways it’s Katz that gives the band their distinct flavor, a sound that was unique even inside the realms of the Cool. The cellist was classically trained (he’d studied under Pablo Casals) and yet was adept enough at jazz that he could back-up and gain accolades from Horne (which is where he met Hamilton). And his playing was the largest part of why they came to be dubbed “chamber-jazz.”
This term was often employed as something other than a compliment. To be sure, the sound was miles away from hard-bop, but it’s also readily clear that what they were creating was, if wildly accessible, also serious music. Once in motion they recorded frequently, even appearing as performers in Alexander Mackendrick’s ’57 film classic Sweet Smell of Success, though Hall’s replacement on guitar John Pisano lost his spot in the movie to a fictional character.
Buddy Collette also left the band, with Paul Horn and then Dolphy stepping in and filling the void with no loss of momentum. In 1997, the peerless jazz reissue label Mosaic compiled a 6CD/9LP box set under the self-explanatory title The Complete Pacific Jazz Recordings of the Chico Hamilton Quintet. The music it contained, indeed everything made for Richard Bock’s high-profile label, underscores both Hamilton’s stature as a jazz great and the sheer vitality of this group throughout its existence.
Mosaic releases are smartly conceived, glorious-looking packages, but they are also limited editions, so the possibility of picking up one of these sets without dropping a hefty sack of coin is very unlikely. But much of music found here is widely available in some new or used physical format and also widely obtainable digitally, so getting to hear a great portion of this box’s contents isn’t as difficult as one might think.
It would take a book (or at least something comparable to Mosaic’s terrific accompanying liners) to do justice to the wealth of individual tracks herein, so a few broader impressions will follow instead. Yes, selecting one of the LPs (most temptingly ‘55’s outstanding The Chico Hamilton Quintet) that helps to shape this collection would have been a perfectly fine way to pay tribute to Hamilton and spotlight his music from this period, but as strong as the albums could be (and as sterling as the debut surely is), from my perspective the individual releases don’t really serve the group best.
Again, as easy-going as it all was (at least on the surface), this is still experimental music, using a different sense of spontaneity than the post-bop improvisational model, and because of this, the recordings benefit greatly from being heard across the span of sessions, shifts in personnel, and years. Frankly, not everything in the Quintet’s oeuvre wields the same level of effectiveness, which is the norm when you’re experimenting.
Some have complained that the music here is at times kitschy, but I don’t really agree. It is occasionally quite close to the climes of exotica, but unlike many, I don’t consider the best of that genre to be kitsch. And I rate this music as better than the best in exotica (yeah, even better than the best of Martin Denny), so there’s that gristle to chew on.
My ranking stems largely from their instrumental skill and the sweet and often gentle (though not genteel) sound they provide. Jack the volume way up on a Clifford Brown/Max Roach Quintet record, and the result will certainly still raise a little ruckus, and the gesture would be in no way improper. Doing the same to the majority of what’s in this box would simply be the act of a philistine.
Appropriateness of environment is a necessity here, and that fact extends to home listening. The sound of applause at the end of many of these cuts only emphasizes this fact; it’s indicative of an audience in the frame of mind of a concert hall, not a club date. Of course, this band could play in both, though they obviously attracted a different crowd than the post-boppers pulled in.
I cite the Brown/Roach group above for a reason, in part due to the wildly contrasting styles, but also because during the Quintet’s first New York engagement they were playing directly across the street from each other. In the notes to this box, it’s mentioned that Hamilton felt that much of the ‘50s Coastal jazz friction stemmed from just this situation. There’s no doubt that chamber-jazz rubbed many the wrong way, with quite a few hearing it as a slap in the face to form’s swing/blues imperative.
But these guys didn’t invent chamber-jazz. For starters, there was John Kirby’s band of ’38-‘41. Surely when Katz is in full bloom, especially on “Concerto Petite,” they completely exit the realm of gritty funk (and masculinity) that is long been associated with the East Coast sound. However, when the clarinet steps in, it can be remindful of Artie Shaw’s small groups, and that’s very choice, though I can’t imagine too many of the era’s hard-bop partisans felt the same way. If Katz basically turns “Concerto Petite” into longhair music, he could also be playful, and yes, he could swing. (Please see “Katz-Up” for proof.)
Sure, those with a complete aversion to flute in a jazz context might find a large portion of this box problematic. Then again, I once felt the same way. And to be clear, I still mostly do, but along with Dolphy and Roland Kirk and the use of the silver stick in the free jazz setting, I find the flute that’s here pretty easy to swallow.
And the instrument is played by Collette and Horn, but only on three tracks by Dolphy. Hamilton didn’t record exclusively for Pacific Jazz (for one example, the music for Sweet Smell of Success was issued by Decca, and their pseudonymous appearance on Ken Nordine’s first Word Jazz effort was made for the Dot label), so this is by no means everything the Quintet laid down on wax.
But this does hold a major chunk of their discography, and listening across the 18 sides of this baby, rather than becoming excessive, delivers a study in a form of jazz that unlike its main competitor really has no current equivalent. Also, it shows off their range very well. “Walking Carson Blues” (here twice, one reading sourced from the first LP and the other from a recovered live recording of the Quintet’s second lineup, with this version previously appearing only on a compilation) makes it plain they could play effectively in the style of the title, but also on their own terms.
Additionally, the takes of Ellington standards (I’m very fond of a ’55 live date’s “It Don’t Mean a Thing if It Ain’t Got That Swing” and plum knocked-out by a ’56 “Caravan”) are just dandy and the early stuff as a whole hits the spot every time I hear it. On the downside, it’s true that the jazzing-up of the score to the musical South Pacific (capitalizing on the success of Shelley Manne and Andre Previn’s treatment of My Fair Lady) isn’t amongst my favorite parts of this box. If an experimenter, Hamilton also wasn’t averse to putting bread into his pocket and vittles on the table, for he did have a family to support.
Heard isolated, the South Pacific cuts are almost kind of a drag. But if played between the first LP in this set and last, that one featuring the ’59 Ellington Suite disc along with the three cuts with Dolphy, it becomes apparent how little their creative fertility dropped across their run. That’s ultimately chalked up to Hamilton of course. Not only was he a fantastic drummer (his playing on “Blue Sands” alone lands him in my personal canon), but maybe his strongest characteristic was his ear.
He could recognize a great tune, quickly ascertain vital players on the rise (along with Dolphy, there’s Charles Lloyd and Larry Coryell), and understood what would and wouldn’t work under his ensemble’s unusual makeup. Along with the trio of Jimmy Giuffre (which Hall left Hamilton to join), the music here gives proof (if one still somehow requires it) to just how deep and varied the West Coast scene actually was. Giuffre’s band specialized in a type of folk-jazz, while Hamilton’s remained fairly close to that chamber template, but the two styles remain quite complimentary.
This box is a massive dose of the man and his group at the absolute top of their game. Investing in it is not recommended for those with a casual interest in jazz, but for anybody that desires a firm knowledge of the music of this era, seeking out the core components of this set in some form is a must. Chico Hamilton might not be a household name, but it’s musicians like him who provide jazz with its eternal kick. That he lived to 92 years of age cheers me deeply. Knowing that his music will survive for much longer makes me even happier.
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Chico Hamilton
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"Bob Henrit"
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2014-03-28T09:08:58+01:00
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Foreststorne ‘Chico’ Hamilton was born in Los Angeles on September 20th 1921 and I have to admit he didn’t exactly introduce me to jazz; instead he introduced me to something which for me, as an embryonic rock ‘n’ roll drummer, proved to be very important. The possibilities offered by playing a regular drum kit …
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Mike Dolbear
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http://mikedolbear.com/groovers-and-shakers/chico-hamilton/
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Foreststorne ‘Chico’ Hamilton was born in Los Angeles on September 20th 1921 and I have to admit he didn’t exactly introduce me to jazz; instead he introduced me to something which for me, as an embryonic rock ‘n’ roll drummer, proved to be very important. The possibilities offered by playing a regular drum kit with tympani mallets! I saw him doing exactly this to a piece called ‘Blue Sands’ in the film ‘Jazz On A Summer’s Day’ – and I was captured.
To set the scene everything about his appearance in the film of the 1958 Newport Jazz Festival with his single-headed Gretsch drum set was fabulous. Chico was the epitome of cool from his narrow-shouldered suit, to his tab-collared shirt, the beads of sweat on his brow and the rhythm he was playing on the drums – and last, but certainly not least, his black ‘sparkle’ Gretsch kit. Chico certainly grabbed my attention in the film but to be honest, so did Jimmy Giuffre who had a rather unusual line-up: himself on clarinet and saxes, a valve trombonist and a guitarist. Giuffre’s music called ‘The Train And The River’ played over the evocative opening scenes of a sun-dappled sea with racing yachts competing against one another in the 1958 Americas’ Cup which was taking place off-shore.
Even though ‘Blue Sands’ exclusively used toms it certainly wasn’t anything like the Latin-side of jazz which moved you to dance – it was much more of an orchestral fusion than that. I was knocked out by the subtle but clear sounds he coaxed out of the drums with his beaters, the hypnotic feel he produced and the way he was able to explore all the toms and still play so quietly. The image of what he was doing then has stayed with me for well over half a century.
If anybody could be credited with inventing ‘West Coast Jazz’ (aka ‘Chamber Jazz’) the most likely contender has to be Chico Hamilton. He made his first record with Slim Gaillard but from 1955 to 2011 made more than sixty albums as a band leader and is generally accepted as being ’The Architect’ of that ‘cool jazz’ style.
His own quintets were unusual in their instrumentations with cello and flute (something which he introduced to jazz) as well as guitar, bass (eventually) and of course drums. But long before all that he performed in LA’s Jefferson High School jazz band with no less than Dexter Gordon, Charles Mingus and Illinois Jacquet before turning professional at 19 with Lionel Hampton prior to a conscripted stint in the US Army in 1942 where he learned to read music with a chap called Billy Exner. In the piece I wrote about Sonny Greer I mentioned Chico was overawed by him (and his pyramid of drums) when he went with his mother as a youngster to see him playing with Duke Ellington. He decided then and there he was going to be a drummer and originally studied drums with Lee Young, who was Lester Young’s brother, before getting some help from Jo Jones. Mostly though he taught himself. When he began one bandleader refused to let him use anything other than brushes and this stood him in great stead while playing with singers. He evidently did this for 15 years and learned to lay down a groove but stay quiet underneath.
Chico Hamilton moved on to play with a very long list of jazz royalty including T-bone Walker, Charlie Barnett, Lester Young, Count Basie and Duke Ellington, Billy Eckstine, Nat King Cole, Sammy Davis jnr, Billie Holliday, Chet Baker and Gerry Mulligan to name but a few. A lot of gigs with these people came before his six year-long residency with Lena Horne which lasted until 1955.
He was an extremely subtle musician who once said: “I’ve always seen the drums as a melodic instrument not a percussive one. I developed a touch – it may not be as loud but it’s mine!” I’m guessing that it was because of this philosophy that he persuaded the Gretsch drum company to make him drums with single heads in the sizes: 12 x 8, 14 x 12, 14 (or 16) x 18, with an 18 (or 20) x 14” bass and a 5.5” deep wood-shell snare drum (and though his 20” bass drum in the ‘Jazz On A Summer’s Day’ film has a front head on with the old curved Gretsch logo but Chico was a very early advocate of removing the resonance head on that drum too to flatten out its sound.) This single-headed thing evidently came about by accident because during the war he was unable to get calf-skin heads for his drums and if he broke a batter head he would simply replace it with the head on the bottom and this would of course make the drum sound more open. He began to like the sound it gave and once he got together with Gretsch, those were the sort of drums he asked them to make for him albeit with slightly deeper-than-normal shells.
Chico was renowned for discovering young talent and Jim Hall, Gabor Szabo, Larry Coryell, Eric Dolphy and Ron Carter are on record as owing a big part of their careers to him.
He was a successful film music writer (his many credits included Roman Polanski’s ‘Repulsion’) and from 1966 was responsible for literally hundreds of TV commercials and records and there’s even a documentary film about him called ‘Dancing To A Different Drummer’. He also made dance records like ‘Conquistadors’ and one of his instrumentals, called ‘Strut’, was evidently successful on the Northern Soul scene and even had its own dance!
He embraced less jazzy sides of music too in the 21st Century recording with the likes of Jaimoe from the Allman brothers, Johnny Otis’s son Shuggie and Little Feat. Charlie Watts actually recorded with his hero Chico in 2001 on an album called ‘Foreststorne’ – there’s one track called ‘Here Comes Charlie Now’ which they played on together. This came about because in an interview with Charlie, Chico’s manager discovered that Chico’s quartet with Gerry Mulligan playing ‘Walking Shoes’ inspired him enough to call himself Chico Watts! This was more than enough for him to put them together in the studios.
Chico was also a vocalist and there’s evidence available of him on the internet singing: ‘Stompin At The Savoy’, ‘It Don’t Mean A Thing If It Ain’t Got That Swing’ and ‘Every Time I Smile’.
When asked by Rick Mattingly what were the favourite memories of his long career he replied: “That’s a difficult question to answer because I seldom look back. Life is one moment to the next so rather than looking back at what I did in the past, I’d rather look forward to the next time I can play!”
To get the essence of Chico Hamilton other than the tracks I’ve already mentioned at least check out ‘Under Paris Skies’, ‘Topsy’, ‘For Mods Only’ and ‘The Dealer’. Nobody made the ‘to 2’ part of a ‘10 to 2’ rhythm on the opening and closing hi hat last as long as Chico and nobody bounced the tip of the stick on the ride cymbal to create rhythm like him either. Listen to Conquistadores!
I know a lot of soon-to-be rockers went to see ‘Jazz On A Summer’s Day’ because, in a laudable attempt to put bums on seats at the Newport Festival by crossing the musical divide, somewhat incongruously Chuck Berry was booked to appear. He’s in the film singing ‘Sweet Little Sixteen’ and incredibly Chuck had the great Jo Jones playing drums with him. Jo, along with the rest of the proper jazz musicians in the pick-up band, looked completely mystified by what was going on!
If you went to see the film for Chuck I’m guessing you’d have been pretty disappointed but for me and a lot of other early sixties drummers, the whole thing was absolutely electrifying – mostly because of Chico Hamilton and ‘Blue Sands’. Who knows, had it not been for Chico, Mick Fleetwood might not have given a thought to using beaters on Albatross and Nick Mason says he definitely wouldn’t have used them on ‘Set He Controls For The Heart Of The Sun’.)
Chico Hamilton was 92 when he died on November 23rd, 2013 but was still playing and even practising up until the end. When asked about why he was still practising at his age his response was: “I practise man. I’d better, there’s too many young players out there. I practise my instrument because I’m still learning how to play it!” He also talked about staying vital and playing drums at an advanced age saying: “I ain’t got nothing else to do!”
Bob Henrit
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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Man From Two Worlds (Vinyl)
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Buy Man From Two Worlds (Vinyl) by Chico Hamilton on Blue Sounds Store. Released by Jazz Vinyl.
|
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https://www.hamiltonpinheiro.com/en/author/hpbass/
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en
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Hamilton Pinheiro – Hamilton Pinheiro
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2021-05-09T17:09:27-03:00
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In this, post I want to talk about a video named Sinal Vermelho that I did putting music and photography together. Sinal Vermelho is a video about people who need to sell things on roads intersections during the time the traffic light is red to get some earning. The video shows how the task is difficult and sometimes demeaning while compels the watcher to reflect about that situation. The existence of this “job” is another consequence of the inequality of opportunities my country still has.
Sinal Vermelho got a prize from the Brazilian cultural association Associação Traços and is part of the BSB2060 project (https://bsb2060.com/).
Before getting into the video, let me explain why Sinal Vermelho is so important to me.
Here is a thing… I have been a professional musician since 1990 and music has been my lifetime passion. Although I have always stated that music has been my only art form, looking back, I noticed that I always had a photography camera with me. Well, always a crappy photography camera.
In 2007 I bought a decent camera. I realized how I loved the new toy when I noticed that three hours after buying it, I had read the owner’s manual three times. In addition, in the following four weeks I took about 1000 pics a week. Since then, the camera has been my companion on basically every trip I have done. I have taken pictures of anything I find interesting. Things like buildings, landscapes, flowers, bugs, people, shadows, concerts, skies, trees, lakes, bottles, etc.
Four years ago, I got a professional level camera that triggered me to turn photography into something more than a hobby. I can say that the photography bug bit me.
A pause to explain about the camera.
Long time ago I realized that photography is about light and composition. That is it! It is not about the size or the quality of the camera. Light and composition! I know I mentioned on this text about the quality of the cameras I have owned, but the thing is not the camera itself. The thing is: I like to be part of the entire process of creating an image. I like to decide which configurations I would use to get a specific result and I like to spend time editing the final image to get what I visualized before pressing the camera’s button. A better camera allows me to control all these steps. I know it would be easier and faster to get the same image with my mobile, but I love spending time on the process. Remember: light and composition!
Back to the story!
I confess I got scared when I realized my passion to photography has raised to the same level as my passion to music. I was confused of how I would deal with both passions, how I would allow enough time to photography without jeopardizing music and how photography would affect my profession as musician. Fortunately, they do not compete for space in my heart. They help one each other. Actually, being a photographer helped me to be a better musician.
Now the video enters this story!
On a Sunday night, I read about a call for cultural projects in Brasília named BSB2060. The call invited artists from all art forms to send products that discuss how they would see Brasília in the year of 2060. Reading the project’s supporting arguments, I noticed that there was a strong social aspect to be explored on it. Although I could have proposed a musical project, I felt lack of objectivity because of the subjective nature of instrumental music, which is my main field.
Photography enters here!
Thinking about all possibilities I could explore, I understood that if I put photography and music together, I would be able to balance the objective aspect of the former and the subjective aspect of later to convey a strong and clear social message. I just needed to define a theme.
Changing subject again…
In the late 1990s, I would go very often to Brasília’s central bus station because I didn’t have a car. As it happens to almost any bus station in the world, there were poor people wandering and asking for change. During that period, while waiting for the busses, I noticed that some people standing in the lines just ignored the other ones when they asked for some change. What a degrading situation! I felt very touched and restless at that situation because I saw it almost every time I was waiting for a bus.
How could someone just ignore the existence of another human being just because of their social condition?
Later when I bought a car, I noticed that the same situation happens on roads intersections. When someone asks for change or tries to sell stuff during the red light, some drivers just close the cars’ windows and ignore whoever is outside.
My project’s theme was defined. I would talk about people who need to sell things on roads intersections during the time the traffic light is red to get some earning. The final product: a video with photos of people selling stuff during the red light backed by a composition that aims to reflect the mood of their situation.
On that very Sunday night, I composed the piece that would be the video’s soundtrack. On Monday, I recorded the tune and sent to piano player Misael Silvestre and harmonica player Pablo Fagundes to record their instruments.
On Wednesday morning I left home to get the pictures. I was pretty nervous because I am too shy to approach people and ask if I can take pictures of them. Soon I realized that there would have stronger feelings involved.
Firstly, I felt uncomfortable when I introduced myself as a photographer. I had never thought about it and have always introduced myself as a musician despite having a camera in my hands. I felt I wasn’t good enough or didn’t have enough production to be called a photographer.” On that moment I decided I would be musician AND photographer.
Secondly, spending some time chatting with the people I approached was overwhelming. As a guy who has never had problems to find jobs in music and has skills to find jobs on other fields if needed, it was heartbreaking* to chat with people who found on the traffic light trade their only option to earn something.
Can you imagine yourself waiting for a red light, rain or shine, to be able to earn some money? You will have 30 or 45 seconds to succeed. If nobody buys anything from you, you’ll have to wait for the next red light.
Can you imagine yourself trying to show what you have in your hands to someone inside a car and finding that the person is utterly motionless, like made of stone, pretending you are not there? Those people face these situations every single day.
Just give yourself some time to think about it.
When I got home, I just selected the pictures and edited the video as you can see below.
This was my first public work as a photographer and it showed me that I can use my arts – photography and music, to help people. I’ll do it more.
* Because of my limited vocabulary, I don’t know if the word “heartbreaking” is strong enough to conveys what I felt. It was one of the strongest feelings I have ever felt. You can replace “heartbreaking” to the strongest same-meaning word you know.
Okay, I agree this might be a grumpy man’s post. Maybe not.
I confess that I’m just tired of the same s*** on internet. Posts and more posts making fun of bass players’ wives/girlfriends. I’m tired of scrolling my Instagram feed and finding memes of a women complaining that their partners bought a new bass. I’m tired of getting memes on my Whatsapp of women crying because their partners are not thinking on them. I’m tired of scrolling my Facebook page and finding the same s*** all the time. When are we going to change?
Okay, I might be grumpy. I know. All those memes are funny.
I truth that you, people who post and share those memes, are good guys. I agree that those memes are just jokes and they do not reflect your own believes. I truth that you are just sharing this type of content because social media sites are places to have fun.
Okay, I might be grumpy. Maybe not.
Have you ever realized that you can be contributing to destroy women’s strengths when posting/sharing those kind of memes? Have you ever realized that, although you are just kidding and you actually don’t believe on what is written on the memes, you are hurting someone?
I confess that 15 or 20 years ago I would be the guy who shares those memes. I changed my mind when I watched the video below in a course during my undergraduate at Universidade de Brasília. Watching this video made me realize that every single word used to depreciate someone regarding their gender, race, origin, social condition, religion or any other segregating classification hurts their self esteem even without any intend. On the day I watched the video below, I erased all those kind of jokes from my vocabulary and started to realize how violent they are.
Okay, someone can argue that the video above is related to a racial issue that happened in the United States during a specific period and that it does not relates to husband/wife relationship. Really? Please, watch the video below.
Yes, my friend. I might not be that grumpy man.
Like it or not, the truth is that all those “funny” memes hurt someone’s self esteem. They can annihilate women’s strengths in a level that they can never recover again. Let’s change?
Peace!
HP
Once I read a quote that meant a lot to me. In English, it goes “if you don’t have anything good to say about someone, say nothing.” I can’t remember exactly when I read this quote, but I know it was during my teenage years. We know that teenage years is that time in our lives when we set our own rules, although later we realize that most of these rules falls apart because life is too diverse to fit into them. Fortunately, the rule “if you don’t have anything good to say about someone, say nothing” has endured.
This rule has helped me a lot. It has helped me to keep both gossip and gossipers out of my life, to be more friendly, to be more empathetic, to get gigs (yes, once a friend told me I got a gig because of my silence about people’s life), and last but not least, to live in peace. I’m glad to have this rule in my life.
I know that it is a rule with limitations, especially when one has to criticize other’s work. Now comes the point I would like to make in this article. When you are talking about someone’s musical performance, are you honestly criticizing their work or just using your comments to massage your ego?
I started to think about this situation when listening to people commenting about other’s performance. In several situations I have noticed people adding the coordinating conjunction but in a particular manner. I have heard many comments like:
He/she sings well, but…
He/she has a good technique, but…
His/her concert was nice, but…
Although I have felt truth on many people’s words, I also have felt people using the coordinating conjunction but to counterbalance their own weaknesses. Better explaining, if I don’t have enough skills to develop a good melody on a solo, for example, and I watch a good improviser in a concert, I can try to find a weakness on their performance and put it into the same comment to nullify their skills. In other words, if I say “his solos are good, but his bass tone is terrible,” I might be saying that I have something better than him, therefore he is not that good musician or not better than me. I am using my comment to massage my ego.
If you are this kind of people, it might be a good idea to reconsider your behavior. To me, we become better musicians when we accept that we have weaknesses. They don’t make us worse because music is not competition. Not being able to do one thing is not a shame because we have plenty of other things that we can brightly do. Shame is to hide our weaknesses and not to work to overcome them. Shame is looking at someone’s performance and trying to find flaws to “justify” why we are not as good as we would like.
Think about it and, when appropriate, just say nothing.
HP
During the 20th century, Brazilian music gained worldwide recognition because of its syncopated rhythmic approach, singable melodies, well balanced harmonies and dances attached to its performances. Among countless musical genres that are part of Brazilian culture, Samba and Bossa Nova are ubiquitously the most known in the world, being played in almost all countries.
My experience in United States during my master’s in Jazz Performance has shown me some issues that non-Brazilian musicians face when playing Brazilian music. The main ones I could notice are lack of understanding of the rhythmic approach and lack of use of common Brazilian rhythmic figures. The first issue relates to how Brazilian musicians understand Samba’s and Bossa Nova’s main accents and the second one relates to the most common patterns played by an instrumentalist in a specific genre or style. In short, although syncopation is a strong characteristic of Brazilian music, there are some particular specificity in Brazilian culture that differs from other syncopated genres tagged as Latin music. This text will discuss the Brazilian music main accents.
At this point I will include the Choro, which is a less known Brazilian genre that precedes Samba and Bossa Nova, because they share several characteristics.
One of the similarities among Choro, Samba and Bossa Nova is the 2-feel with a slight accent on beat two. This accent can be related to the bass drums played at samba schools. As a general rule, the drum that plays on beat two is tuned at a lower pitch when compared to the drum that plays the beat one. The result is a natural accent on beat two. This accent also occurs on the pandeiro, which is the most common percussion instrument in a Choro ensemble, and less noticed on the drumset in a Bossa Nova ensemble.
Here I will point out the first main characteristic of Brazilian music which is the downbeat with accent on beat two. When playing a Choro, a Samba or a Bossa Nova, the musician must feel the downbeat and the accent on beat two. The amount of accent will vary according to the genre, being more prominent in Choros and Sambas and less noticed in Bossa Novas. Even if a particular rhythm does not have someone playing the beat one like the Partido Alto, the musician must feel the downbeat.
Try to hear the 2-feel and the accent on beat two in the following examples.
Samba –
Choro –
Bossa Nova –
Partido Alto groove –
The second main Brazilian music characteristic is what I call forward motion. The forward motion is the syncopation of the sixteenth notes* that brings a forward movement to Brazilian music. The general Brazilian music feel that one can hear in a Choros, Sambas or Bossa Novas will be the result of the downbeat and the forward motion.
The very last sixteenth note of a measure is what I call the sweet spot. It is the place where melody and harmony will hit most anticipations.
Bringing these ideas to an actual performance, here are the instruments roles:
Bass, bass drums and other low-pitch instruments will play mostly the downbeats
Comping instruments, melody and high-pitch percussion instruments (e.g., hi-hats, snare, etc.) will play the forward motion.
Check the following recording and listen to each instrument trying to find their roles in terms of downbeat and forward motion. In addition, try to hear anticipations in the sweet spot.
I know there is a ton of things to learn to play Brazilian music as we play in Brazil, but I hope this explanation gives you a good start.
Hamilton Pinheiro
* Brazilian music charts in Real Books and Fake Books are written in 4/4 time signature, but most Brazilian musicians prefer to write in 2/4. This means that the measure will be filled mostly with sixteenth notes.
Practicing with drone notes
Once, I brought to my bass teacher at University of Louisville, Chris Fitzgerald, a sketch of my ideas about setting a good practicing schedule. I am trying to find some basic principles about effective practice and my goal is to set a model of procedures that I can apply to any bass practicing situation, at any level. This specific subject will be covered in another text. While showing my findings to Chris, he took notes and pointed out some good stuff to consider. One of them was about practicing with drone notes.
The term drone became very popular lately because of the little airships that can carry video cameras and get nice aerial images. But the word drone means a steady and continuous sound. For practicing purposes, bass players with no frets on their instruments fingerboard (fretless and double bass) can use drone notes to work on intonation.
Before including practicing with drone notes on my research, I tried it for a little. At the very beginning, I noticed a huge difference. My intonation (I play the fretless bass) got way better and I could easily play without looking at the fingerboard (that is a thing that I must work on). I got more sensible to micro intonation variations and I got more confident on the results of my playing. That was amazing!
I know you can argue that playing or rehearsing with a live band or practicing with any other backing track would give me the same results, but, in these cases, there are several variables that can turn the practicing (or the performance) harder. Room’s acoustic, instruments balance, ambience noise, other instruments volume and intonation, etc. A drone note gives a steady and comfortable “pad” to work on intonation without any distraction.
Besides that, another thing that I figured out is that I could relate the sound of scales I was practicing to chords or keys. I know it is a little obvious, but, according to my practice schedule, I have a specific time to work on scales (technique practice) and another one to apply the scales of a chord progression (musical practice). The drone notes practicing made me relate scales and chords during my technique practice slot. Check the example below.
I was practicing the F melodic minor fingering on all fingerboard extension, aiming to apply it to the E7 altered chord. The obvious choice for the drone note would be the note F – the tonic of the scale. However, as my intention was the altered scale, I set E as the drone note. Thus, besides working on the fingering, I could relate the sound of the notes I was playing to the E7 altered chord.
You can apply the same idea to any other chord or scale. For example, if I worked on a Lydian dominant chord (4th mode of a melodic minor scale), when practicing F melodic minor, I would set Bb as the drone note. That is a very good way to work on intonation and having this new approach, fretted bass players can also benefit of the drone notes practicing.
If you want to practice with drone notes, I prepared a YouTube playlist with a chromatic scale drone notes. Just find the note you want work on and hit the play button.
See you on next text!!!!
|
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https://www.freshsoundrecords.com/chico-hamilton-albums/54765-man-from-two-worlds-vinyl.html
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Man From Two Worlds (Vinyl)
|
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Buy Man From Two Worlds (Vinyl) by Chico Hamilton on Blue Sounds Store. Released by Jazz Vinyl.
|
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|
/img/favicon.ico?1718181534
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Blue Sounds
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https://www.freshsoundrecords.com/chico-hamilton-albums/54765-man-from-two-worlds-vinyl.html
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https://www.loc.gov/collections/gerry-mulligan/articles-and-essays/jeru-in-the-words-of-gerry-mulligan/pianoless-quartet/
|
en
|
Jeru: In the Words of Gerry Mulligan
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[Gerry's sextet in the 1950s]. [photographer unknown]. The Gerry Mulligan Collection, The Library of Congress Presents: Music, Theater and Dance, Performing Arts Reading Room. The pianoless quartet, which Gerry formed in 1952 and with which he recorded for the new Pacific Jazz label the same year, was an instant success and received glowing if not fully accurate press concerning its inspirations and aspirations. Gerry clarifies the history of the quartet.
|
en
|
The Library of Congress
| null |
Pianoless Quartet
The pianoless quartet, which Gerry formed in 1952 and with which he recorded for the new Pacific Jazz label the same year, was an instant success and received glowing if not fully accurate press concerning its inspirations and aspirations. Gerry clarifies the history of the quartet.
Listen to Audio: RealAudio - MP3
View Bibliographic Record
Read Full Transcript (PDF, 274KB) or scroll down to read transcript for this segment
Edited Transcript
After that I met Dick Bock. I guess I knew about him because he had put together some dates for Discovery Records. As it turned out he was booking the room at the Haig, especially the off nights. He would bring in the guys who were to play on the night that the main attraction wasn't playing. He started me playing there on Tuesday nights, and at first I would always be playing rhythm section with Don Trenner, and the main attraction was Erroll Garner. Of course, when Erroll was there they had this beautiful nine-foot concert grand Baldwin on the stage for him and it remained pretty much the same for the couple of months Erroll was there. Then they started to make plans about what to do because Erroll was getting near the end of his stay, and they were bringing in Red Norvo and his trio, who didn't use a piano at all. They were now in a quandary over what to do about the off night because they didn't have a piano and they certainly weren't going to rent a grand piano to play on the one night. John Bennett, who was one of the owners of the place, said, "What they should do is get one of those little sixty-six-key studio uprights for the off night." In the meantime Dick had said that he would like me to put a group together to play the off nights. I said, "Great," but when John said this about the piano I said, "No, I don't think I want a studio upright. Thank you. Let me think of something else." I started to try different things with a bass guitar, drums, and horn–various ways of approaching a rhythm section without a piano.
One of the things that gave me a lot of confidence to do that was that when we were still in New York and Gail [Madden] and I were organizing some things, we organized a record date with Prestige, but the rhythm section that she had (with maracas that kind of made a swishing sound, that she made go with the cymbal sound) had no piano in it. So, because of the things she had tried, it gave me kind of an idea of what I might try and what not to do and so on. Gail had been enthusiastic about Chico Hamilton's playing. And I had played around at a number of sessions in the Valley at which Chet [Baker] had played, so I played with him a couple of times and was very impressed with his melodic playing, which you don't usually hear in players at jam sessions. People are so busy playing their horn and trying techniques, but Chet was such a melodic player that I thought we could try it with no piano. And we were lucky to get a bass player [Carson Smith] who also had a good sound and good time, but who also thought like an arranger. Each one of us brought something particular to the group; it wasn"t just playing the instrument, it was bringing a point of view to it. And when we put it together it gelled because Carson Smith on bass had a particular feeling for the function that he was doing. He realized that he was doing two things at once; it was like being part of the ensemble plus part of the rhythm section. Because everything was supported by the bass, since you didn't have a piano stating the chords, it had to come from the combination of the bass, bass line, and whatever we were doing with harmonies. Chico had his unique approach.
All the time we rehearsed we only had a small set, maybe a snare drum and high hat, a standing tom-tom, and one top cymbal on a stand–no bass drum, no set of tom-toms–and so it was a minimal set. And I remember the first time we had been rehearsing down at a house that Chet rented in Watts, and we were getting ready after rehearsing to pack up to go up into the city to play the job, and I looked in the back of Chico's car. He had a whole set of drums back there. I asked, "What have you got your drums here for?" He said, "Well, we're going to work tonight." I said, "Yeah, but you're not going to use all that stuff are you?" He said, "Certainly." I said, "No man, you must play with same stuff you’ve been rehearsing with, because this is the sound of group. It's going to be different if you come in with a whole set of drums." He finally gave in, so that's what he played on: the snare, the sock cymbal, the one standing tom, and the one standing cymbal, and he played a good deal of the time on brushes. But he used to do things in solos that put me away. A big factor in the appeal of the group was that Chico had such a good show sense that he brought that out in all of us, and so the group wasn't as introverted as Chet and I were. It was very accessible, what we were doing, and it was clear. You could see through it, and Chico brought this kind of extroverted quality to it that kept the thing alive so that there was noticeable vitality there. Chet had a very melodic sense, and I fell into a natural role of accompanying, being the bridge between the bass line and the solo line, and it worked.
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https://chicowildcats.com/news/2012/2/23/MBB_0224121925.aspx
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Chico State Athletics
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2012-02-23T00:00:00
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Jay Flores leapt into the arms of his head coach. Greg Clink held him there for a moment as the two shared an intimate celebration with 1,200 fans at Acker Gym.
|
en
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/images/logos/site/site.png
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Chico State Athletics
|
https://chicowildcats.com/news/2012/2/23/MBB_0224121925.aspx
|
Men's Basketball 2/23/2012 9:42:00 PM By Luke Reid - Sports Information Director
Wild...CHAMPS!
'Cats clinch first ever CCAA title
Jay Flores leapt into the arms of his head coach. Greg Clink held him there for a moment as the two shared an intimate celebration with 1,200 fans at Acker Gym. The final horn on the Wildcats’ 73-54 win against Cal State Monterey Bay hadn’t sounded yet, but two seconds later, the Chico State men's basketball team had clinched its first ever California Collegiate Athletic Association (CCAA) title and its first conference title since 1994.
There was something special about seeing Flores held in someone else’s arms. He’s been carrying the program for three seasons now.
On the eve of “Senior Night” the Wildcats’ two seniors led the way. Josh Jackson scored a season-high 11 points while knocking down a career-high three 3-pointers. He scored all eight of the Wildcats’ points during an 8-2 run late in the first half that gave the Wildcats control of the game for good.
Flores’ performance was the latest in his long line of masterpieces. This one rivaled any before it. He finished with 10 points, a career-high 12 rebounds, seven assists, and a career-high five steals.
Freshmen Jordan Semple and Jordan Barton finished with 10 points apiece and combined for five blocked shots. James Staniland and Damario Sims finished with nine points apiece (Sims added six assists) and Amir Carraway contributed six points and eight rebounds as the Wildcats improved to 21-6 overall and 15-6 in the CCAA.
The Wildcats, picked to finish seventh in the conference’s preseason coaches’ poll, will try to win the CCAA title outright when they host Cal State East Bay Friday night at 7:30. Cal Poly Pomona and Humboldt State enter tomorrow night’s action one game behind the Wildcats, needing a win and Chico State loss to grab a share of the title. Cal Poly Pomona is hosting Cal State Dominguez Hills and Humboldt State plays host to Cal State San Bernardino.
A win Friday would not only give the Wildcats the title outright, but would also make them the ninth Chico State men’s team in school history with 22 wins. They already boast the second best winning percentage among the school’s 13 20-win teams at .778, second only to the 1941 team that finished 23-4. The record for most wins in a season is 25, set in 1984.
If they keep playing like this, that record may fall. Already boasting the nation’s 24th best rebound differential, the Wildcats crushed Cal State Monterey Bay (3-22, 2-19 CCAA) 46-30 on the glass and enjoyed a 14-2 advantage in second-chance points. They also blocked eight shots, helping hold the Otters to 35-percent shooting for the game and just 23 percent in a second half in which they outscored them 36-22.
Staniland sank a trio of first-half 3-pointers and combined with fellow super-subs Semple and Jackson to score 26 of the Wildcats’ 37 first-half points and the Wildcats took a 37-32 lead into the locker room.
Flores assisted on Staniland’s consecutive 3-pointers in the game’s eighth minute, giving him 350 for his career, which moved him past Tim Taylor (1980-84) and into third place on the school’s career assist list.
He hit a 3-pointer 12 seconds into the second half, and after a Sean Park free throw, scored on a steal and a drive to stretch the lead to 11. After Jackson’s third 3 and Sims’ jumper, the lead was 56-43 with 12:20 left.
The Wildcats’ advantage did not drop below double digits again.
Brandon Ward paced Cal State Monterey Bay with 16 points and five assists and chipped in five rebounds. Chico High School and Shasta Community College product Kevin Loustale finished with six points, a team-high nine rebounds, and two steals.
Tonight, in a darkened Acker Gym, banners hang from the ceiling representing 35 of the school’s CCAA Championships since they joined the conference in 1998. Very soon, a 36th banner that says “CCAA Men’s Basketball Champions 2011-12” will be raised as well. To those who’ve followed this program, and more specifically, watched this team evolve over the past five years, it will say so much more.
BOX SCORE
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https://www.bowers.org/index.php/collection/collection-blog/black-jazz-performers-as-photographed-by-leigh-wiener
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Black Jazz Performers as Photographed by Leigh Wiener
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Detail of Steinway for Duke, March 1961Leigh A. Wiener (American, 1929-1993); Berlin, GermanyGelatin silver print on ektalure paper; 16 × 20 in.87.6.7Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved Black History Month Many of t
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Bowers Museum
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https://www.bowers.org/index.php/collection/collection-blog/black-jazz-performers-as-photographed-by-leigh-wiener
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Detail of Steinway for Duke, March 1961
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.7
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Black History Month
Many of the most famous American musicians and singers from the 20th and 21st centuries are Black artists. In the face of overwhelming prejudice, these great individuals led a radical evolution in the sound of American music and became key figures in combatting racial inequality. In celebration of Black History Month, the Bowers Blog looks at photographs of three Black jazz artists taken by the acclaimed photographer Leigh Wiener between 1958 and 1962. These prints were formally donated to the Bowers Museum by Wiener shortly after his works were exhibited here in Black Americans: Then and Now, between February 14 and March 29, 1987.
Leigh Wiener Photographing Frankie Laine, December 8, 1960
Stan Moore (American); Iverson Ranch, Los Angeles, California
Image courtesy of Devik Wiener ©Leigh Wiener / 7410 Inc. All rights reserved
The Photographer: Leigh Wiener
Wiener was born in New York City in 1929 and developed an interest in photography at an early age. By 15 he had already sold his first photographs to Collier’s Weekly. Two years later he moved out to Los Angeles and began studying political science at UCLA at the same time as he started working at the LA Times’ library. After graduating, his first big break as an upstart photojournalist came in 1949 with a photograph of the empty swing of Kathy Fiscus—a three-year old whose tragic death shook America.
Over the course of his career, Wiener photographed an incredible number of artists, musicians, actors, and more, including every living United States president. What the firsthand accounts collected for his exhibition at the Bowers evidence can already be seen in his photography: he did more than capture a static moment in time, he mentally and emotionally engaged his subjects and by doing so photographed them in a more human light than his contemporaries.
The Billie Holiday Make-up, January 20, 1954
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 20 × 16 in.
87.6.1
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved Billie in Berlin, January 20, 1954
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.3
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Billie Holiday
Among the most influential jazz singers of all time, Billie Holiday’s European debut came in 1954 as part of a touring concert group with the Buddy DeFranco Quartet and Red Norvo Trio. Wiener photographed her on January 20 while she was performing in Berlin and later recounted this story:
“Jazz Club – USA was touring Germany. It was a bitter cold night in Berlin, but inside the large hall, things were warming up. Buddy DeFranco opened the show with ‘I’ll Remember April’ which had a ten-minute solo by his drummer, Bobby White. Then came Red Norvo doing ‘Dancing on the Ceiling.’ Now, it was Billie's turn. Like the audience, I had really come for Billie Holiday. Out she came and went right to it: ‘My Man,’ ‘Billie's Blues,’ ‘Tenderly,’...
“‘Be right back,’ she told the audience as she headed backstage for a break. A friend greeted her with a beer. Another lit her cigarette. Suddenly she noticed me with three cameras around my neck. ‘Want a beer, kid?’ ‘I’d rather have more Billie Holiday,’ I replied. ‘You can have both,’ she said as she handed me a cold beer. ‘Anything special?’ she said. ‘I’ve always loved your ‘Lover, Come Back to Me,” I answered. I didn't think she heard me as she turned to some backstage friends. “To a loud ovation, Billie Holiday was back on stage. She must have heard me, because her first song was ‘Lover, Come Back to Me.’”
Sophisticated Man (Duke Ellington), March 1961
Leigh A. Wiener (American, 1929-1993); Berlin, Germany
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.7
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Duke Ellington
Both a band leader and pianist, Edward Kennedy "Duke" Ellington was one the most famous and influential jazz band leaders of all time. On either March 1st or 2nd, 1961, Leigh Wiener photographed Ellington while he was recording Piano in the Foreground at Columbia Records. The photographs were used to advertise Ellington's new album in the New Yorker. Wiener recalled the day the photo was taken:
“There was a break in the session, and I went over to Duke Ellington to tell him how much I enjoyed his music. ‘Thank you,’ he said, ‘you’re very kind.’ ‘Alfred Eisenstaedt would envy me tonight,’ I told Ellington. ‘Who's he?’ asked the gentle man, ‘and why would he envy you?’ ‘Eisenstaedt is a fine photographer,’ I replied. ‘He works for LIFE and one of his favorite ‘tools’ besides his camera is a ladder.’ ‘Really?’ asked Ellington. ‘Why?’ ‘He feels too many people go through life seeing the world at five foot, two inches,’ I answered. ‘A ladder helps him see different.’ ‘I like that,’ said Ellington. ‘Me? I like to see my boys and I like my boys to see me.’ He laughed. ‘If you want to be like your friend from LIFE, help yourself. There's another ladder over there.’ As he pointed to a corner of the studio, he added, ‘ladders are meant to be shared. Have yourself some fun.’”
Chico's Rhythm, February 19, 1962
Leigh A. Wiener (American, 1929-1993); California
Gelatin silver print on ektalure paper; 16 × 20 in.
87.6.39
Gift of Leigh A. Wiener. ©Leigh Wiener / 7410 Inc. All rights reserved
Chico Hamilton
As a pioneer of California’s cool jazz sound, Foreststorn "Chico" Hamilton was a great drummer and band leader. While Hamilton was recording Drumfusion at Columbia Records on February 19, 1962, Wiener photographed Chico and later shared this story about the day:
“Chico Hamilton will always have a special place in my professional memories. He asked me for a favor that no celebrity had ever asked of me before. We were working in my studio. I had paused to load a camera. Suddenly Hamilton almost blurted out, ‘Can I ask you a personal favor?’ ‘Sure,’ I answered. ‘Well,’ said Hamilton, ‘it’s my son. He likes photography and I'm not sure how to help him. I thought if you might take his picture, he might start to talk with you about it and he might learn a little from you.’ ‘We’ll do it Saturday,’ I told the drummer. ‘Saturday?’ he repeated. ‘Saturday,’ I repeated.’”
Text and images may be under copyright. Please contact Collection Department for permission to use. Information subject to change upon further research.
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https://www.planetearthrecords.co.uk/the-chico-hamilton-trio-introducing-the-piano-of-freddie-gambrell-lp-vinyl-record-album-vogue-1958-10626-p.asp
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THE CHICO HAMILTON TRIO Introducing The Piano Of Freddie Gambrell LP Vinyl Record Album Vogue 1958
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The Chico Hamilton Trio featuring Freddie Gambrell - Introducing The Piano Of Freddy Gambell LP (Very Scarce Original UK Pressing in Fully Laminated
|
en
|
/ekmps/shops/planetearthrec/favicon.ico
|
Planet Earth Records
|
https://www.planetearthrecords.co.uk/the-chico-hamilton-trio-introducing-the-piano-of-freddie-gambrell-lp-vinyl-record-album-vogue-1958-10626-p.asp
|
£11.99
The Chico Hamilton Trio featuring Freddie Gambrell - Introducing The Piano Of Freddy Gambell LP
(Very Scarce Original UK Pressing in Fully Laminated Flipback Picture Sleeve)
Format: LP - 33rpm (Mono)
Country: UK
Year: 1958
Label: Vogue
Catalogue No. LAE.12160
Condition: VG/VG
Track Listing:
1. Lullaby Of The Leaves
2. Reservation Blues
3. These Foolish Things
4. Ex-Ray's Friends
5. Devil's Demise
6. You're The Cream In My Coffee
7. Midnight Sun
8. Five Minutes More
Condition:
New
Weight:
0.45kg
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https://www.facebook.com/arthursatyan/videos/ryo-kawasaki-arthur-satyan-fouad-afra-live-2011/745452739494834/
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Reposted from Ernesto Chahoud . I just found this video uploaded online.It is a clip taken from Ryo Kawasaki’s second visit to Beirut in 2011 only 2...
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Reposted from Ernesto Chahoud .
I just found this video uploaded online.It is a clip taken from Ryo Kawasaki’s second visit to Beirut in 2011 only 2...
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https://www.facebook.com/arthursatyan/videos/ryo-kawasaki-arthur-satyan-fouad-afra-live-2011/745452739494834/
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https://www.jazzwise.com/features/article/charles-lloyd-interview-i-m-a-late-bloomer
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en
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Charles Lloyd interview: “I'm a late bloomer!”
|
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"Stuart Nicholson"
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2024-03-14T00:00:00
|
Now well into his ninth decade, sax legend Charles Lloyd shows no sign of slowing down. Stuart Nicholson talks to the great man and discovers a musician still brimming with energy and creativity
|
en
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/media/74202/jwfavicon.jpg
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Jazzwise
|
https://www.jazzwise.com/features/article/charles-lloyd-interview-i-m-a-late-bloomer
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Charles Lloyd is on a mission. Never mind he celebrated his 85th birthday last year, he remains at the peak of his powers – and what’s more, he is constantly striving to improve.
“I want to make a contribution,” he says. “If I want to do that, I have got to dig deeper and try and find some sandalwood forests; I’m not looking for gold mines or diamond mines, I am looking for the true elixir of spiritual value, that’s why we are here.”
Lloyd is a musical storyteller par excellence, and combined with a lifetime of musical experiences, a Charles Lloyd concert becomes a profound musical experience. Reaching deep into the human psyche, the humanity of his playing stirs emotions that music seldom reaches. A unique artist, Lloyd’s sound is a thing unto itself – and there is nothing else like it in 21st century music.
I am in the last stages of the journey now... I like simple living and high thinking. The simple living part has been beautiful for me
Emotionally persuasive and immediately identifiable, it establishes the source of meaning and authenticity of his playing. Captured in the perfect acoustics of the recording studio early last March, his sound provides the perfect entrée into The Sky Will Still Be There Tomorrow. A double album with an all-star ensemble that’s scheduled for release on 18 March – not uncoincidentally Lloyd’s 86th birthday – the eloquent execution of the two opening numbers, ‘Defiant, Tender Warrior’ and ‘Lonely One’, establish an emotional climate you can take refuge under when the travails of contemporary living begin to weigh heavily on the soul.
Although Lloyd presents a line-up that has never played together before, all involved understand his music, sharing the tacit understanding they are involved in creating music that is not just for the present,, but for the future as well.
Most of the compositions on The Sky Will Still Be Be There Tomorrow were the result of a period of intense writing activity during the months of Covid lockdown. “Here I am, 85 and I’m still a youngster, blooming,” says Lloyd with a twinkle in his voice. “I’m a late bloomer, that’s what I’m trying to say. During Covid, something happened when I was walking around in [partner and manager] Dorothy’s garden and walking on the trails, I had all these compositions that were coming through me. I was thinking of these intervals and sounds when I came back, so I went to a piano to see if Steinway will let me get in there and find something – and sure enough I found these treasure troves; so ‘Tender Warrior,’ that’s what we are, and ‘Lonely One,’ I have always been.”
A lot of song titles on The Sky Will Still Be There Tomorrow share an autobiographical subtext. 'Late Bloom,’ for example, a flute duet conversing with himself on alto and bass flutes, refers to the blooming of his ever-ascending career since returning from a performing hiatus, marked in 1989 with the album Fish Out of Water (ECM). Then there’s ‘Monk’s Dance,’ a spirted piece that has a chord progression that seems to dance around. Lloyd says: “Monk is very important to me because he is like a high priest. I don’t know if I told you, but his manager called me and said Monk wants you to play with him, it was when I was with Chico [Hamilton], we played opposite him in the Jazz Gallery back in the early 1960s.
“So I said, ‘Gee, man, are you kidding? I’d love to,’ and then he said, 'just go up to his house'. I was young then, I said, 'Well if he calls me I am here' – I didn’t understand about intermediaries, the manager telling me to get up there and go and play. To me, Monk was like a high priest, I wasn’t going to go knocking on his door and bother him. So that’s one of my finishing schools I missed out on, but I always make homage and play some of his pieces sometimes, so on ‘Monk’s Dance’ I bow to him again.”
Then there are moments recalled shared with Dorothy Darr years ago – things like ‘Sky Valley, Spirit of the Forest.’ “Dorothy was born in this paradise place in North Carolina and she only lived there for three years,” explains Lloyd.
“Then her family moved out of there, they were kind of living in a commune, and then much later we went back to see it, it was very difficult to find, but we found it, it’s got a lake on it, it was one of those paradise kind of places and I was so moved by that – the spirit of the forest. I am in the last stages of the journey now, and I like simple living and high thinking; the simple living part has been beautiful for me.”
“‘Balm in Gilead’ is an old spiritual, part of our culture over here. I’ve heard it since I was a child, and then I went to ‘Lift Every Voice and Sing’, which we sang everyday in school when I was a little boy, and all that comes along with me, so ‘Lift Every Voice’ is like the Negro national anthem.”
Partners in performance: Larry Grenadier and Charles Lloyd (photo: Dorothy Darr)
Lloyd has never forgotten his close relationship with trumpeter Booker Little (1938–1961), a young man as wise about music as he was about life, and the memory of conversations and experiences Lloyd shared with him have been a continual source of inspiration to this day.
“‘Booker’s Garden,’ that’s Booker Little – this great, misunderstood genius who was a great composer, he made a wonderful record [in 1961] called Out Front; he did so much beautiful work, he made those records down at the Five Spot with Eric Dolphy and Mal Waldron, Richard Davis and Eddie Blackwell. Booker was my best friend in High School, with whom I used to listen to Béla Bartók string quartets in the school library.
"When I got to New York I was staying at the Alvin Hotel and he said, ‘Where are you staying?’ and I said, ‘At the Alvin,’ and he said, ‘No you’re not, go pack your bags you’re coming home with me!’
"What a leap of faith! He took me to the apartment he shared with his lady friend up on East 92nd Street between Lex and Third, a four flight walk-up, and he began to take me apart. I was about to jump into the fast lane up in New York – and he said, ‘No, it’s not about that, it’s about character,’ that was so profound. I am always conversing with him, we really have this deep communion now, he was so deep, he left town at the age of 23 but he did so much in that short time.
"‘Lady Day,’ is about Billie Holiday of course; she was my heartbeat when I was a little boy, playing the radio late at night with her singing to me.”
Over the last decade, Lloyd has been experimenting with different ensembles, different musicians, different instruments, different sounds, and different musical and rhythmic textures – most notably his Greek ensemble with Maria Farantouri; The Marvels; Kindred Spirits; and his already classic trilogy of three different trios – the Chapel Trio, the Ocean Trio and the Sacred Thread Trio – released last year as A Trio of Trios.
However, his go-to piano, bass and drums ensemble had always been his New Quartet (which, despite the name, has been together for
over a decade).
But, always eager to challenge himself with different musicians and different approaches, he brought together another set of personalities for The Sky Will Still Be There Tomorrow. “I had to get these people,” continues Lloyd. “Jason Moran had played with me earlier, and he seemed to understand.
"Then came Larry Grenadier who played with me on the Water is Wide, with Brad Mehldau, Billy Higgins, and John Abercrombie, so I knew Larry has this big sound and big heart, and Brian Blade had always been in the wings; there were many aborted times when we might have gotten together, Brian and I, and he understands my music too. I wanted to bring these people together.”
The group first assembled in the recording studio in March 2023 before playing a series of dates, one of which was on 18 March 2023 at his hometown theatre in downtown Santa Barbera. The Lobero is a 150-year-old adobe theatre and a venue where he has played more times in his life than anywhere else.
The tour schedule, as ever, was arranged and booked by Darr. “Well, for that concert at the Lobero Theatre last March, Charles had gotten together a group of musicians," she tells me. "Jason Moran, Larry Grenadier and Brian Blade who had been in the studio two or three days prior to the concert to make The Sky Will Still Be There Tomorrow. Charles has had a number of birthday concerts at the Lobero, and it has become like an extension of our living room – a place where he is very relaxed.
"The place was full to the gills and at a certain point, I think it was two or three songs in, they were pausing between songs and the audience burst into a ‘Happy Birthday’ spontaneously, which was very touching. It just charged the energy; the Lobero is just a beautiful place to perform, and it was a highly charged, memorable evening.”
The Lobero concert set the tone for what followed in 2023, Lloyd’s first full year of touring since the end of lockdown, when he launched into an exhausting round of dates across America and Europe. There was no shortage of highlights, but they all shared one thing in common – the genuine warmth and enthusiasm he received, acknowledging a true jazz legend during his lifetime; at the Newport Jazz Festival in July 2023, “he topped the list of highlights” according to The Boston Globe.
“Oh yeah! That was a great,” enthuses Darr. “Charles is very fond of the Newport Jazz Festival because of his friendship with the late George Wein. It was with the New Quartet – Jason [Moran], Eric Harland [drums] and Reuben Rogers [bass] – and they always have great energy, a great connection, and yeah, that was a great evening!
“We also had a wonderful concert at the Washington DC Jazzfest, in September celebrating Charles’ 85th year. It was the Kindred Spirits group with Gerald Clayton [piano], Rueben, Marvin Sewell [guitar] and Charles, and that was great. It was along the river, a big, outside event, and a great audience showed up for that, and that had a special kind of feeling, being in the capital.
"Then in November we had two nights at the Lincoln Center, with the New Quartet with Jason, Eric and Rueben, and Sangam concerts with Eric and Zakir [Hussain, on tabla], and another wonderful reception.”
Also in November was a memorable European tour of 'selected venues'. Why selected?
“Well, I never know which tour is going to be the last tour,” admits Darr. “Charles has had several very serious health issues, the last one was last March 2022, when he nearly died, so when the agents and promoters approach me about touring I try to make it selective.
"At the start of the tour [17 November], Charles was performing at the Barbican; he has warm affection for the artistic director, so we were back there, that was the with The Ocean Trio II, as I call it, with Marvin Sewell, a wonderful guitarist who shares a Delta background with Charles – actually he’s from Chicago – and Gerald Clayton on piano.”
The press reviews for this concert, and those across Europe, were uniformly enthusiastic, with Jazzwise heralding the concert as: “a deeply spiritual evening with The Ocean Trio”.
From London, the ensemble flew to Geneva [19 November] with a date every other day until the end of the month.
“We returned to the Jazztopad Festival in Wroclaw, Poland [November 26], they have a very beautiful concert house there,” continues Darr. “Berlin at the Pierre Boulez Hall, [28 November] is a beautiful venue, kind of like a theatre in the round, beautiful acoustics and very intimate, it holds about 700 or 800 people; there were other venues, a church in Zurich [22 November]. I mean each place was – the Luxembourg Philharmonie [24 November] – special unto itself, it all went so wonderfully well.”
Awards were not slow to come for Lloyd in 2023 either, in July, for example, Darr was able to wittily post on Facebook that, “Charles was the youngest and the oldest in the span of two weeks,” referring to how he was the youngest of the three recipients of the Lifetime Achievement award from the Jazz Foundation of America – Dave Grusin was 89 and Clarence Avant was 92 – and how he became the oldest-ever recipient of the Artist of the Year award from DownBeat magazine.
“It was interesting that when he was in his mid-20s, maybe 1963, I forget which precise year it was, he was named DownBeat Artist of the Year, after being Rising Star the year before,” reflects Darr. “This past year he was DownBeat Artist of the Year at the age of 85, and I think the only man of that age who has won that, but it was not for the span of the work across his career, but the current work he has been doing.”
This would have acknowledged the wonderful reviews the Trio of Trios project was attracting last year, as well as memorable releases from the immediate past, such as 8: Kindred Spirits and Tone Poem, all on Blue Note.
With the release of The Sky Will Still Be There Tomorrow approaching, Lloyd remains as dedicated as ever to his mission.
“I know from my vantage point,” says Darr, “from all the years I have known Charles, I know that early on he wanted to change all of the wrongs in the world through the beauty of music, and realising he couldn’t do that was when he went away to work on his sound.
"I know he wanted to make a contribution; I feel that he does make a contribution and he looks at it as being in service. In service to humanity to try raise the level of people’s perception through the inspiration of sound and through direct contact with one’s heart, and that continues to be his inspiration".
She continues: "He still loves deeply what he is doing, the travel is very tiresome and exhausting and doesn’t get any easier, but he still looks forward to each performance.”
Duty is a heavy but honourable burden to carry. There is no coasting, no easy ride on the path Lloyd has chosen since humanity is non-negotiable and in these straightened times, honesty and purity of purpose are elements of human endeavour to be embraced.
“There are a lot of folks in the world who have much more sensitivity than they’re given credit for,” Lloyd says. “They come into my little song and I am touched by that. I have kinda refined my sound so not to be a botheration to the planet, I want to make a contribution. That’s what I am trying to say, I have got to continue to go deeper into my work; as Booker said to me, it’s all about character.”
Want to hear more? We’ve compiled a definitive 26-track Spotify playlist of Lloyd highlights...
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Chico Hamilton
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https://i.scdn.co/image/046400f18d7fd4174244031e0459f483a394f65a
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Listen to Chico Hamilton on Spotify. Artist · 76.7K monthly listeners.
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Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon
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CHICO HAMILTON El Exigente 1970 256+ VBR LAME mp3 Vinyl rip & scans from Flying Dutchman FDS-135 We complete our Give The Drummer Some! ser...
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2010-07-26T21:55:41-04:00
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Roman Polanski made some of my favorite movies (Knife in the Water, Rosemary’s Baby, The Tenant, Chinatown) and one of the worst movies I’ve ever seen (The Fearless Vampire Killers). We had “Repulsion” here for a days and it looked and sounded great. Chico Hamilton did the soundtrack and it’s a big part of the sixties action. Now that I’ve gotten rid of my cds I might try to track that soundtrack down. The dvd (from Netflix) would not play through part of the movie. It froze and then jumped ahead and we couldn’t reverse it. We tried sneaking up on the bad spot and watched the early scenes about five times in the process. They were so good we didn’t complain to Netflix or anything.
This situation came up tonight where I threw a ringer and the shoe landed under a leaner that Rick had. We weren’t sure how to score it so we gave Rick two and me three. I have to look up whether one cancels out the other. Last one thrown scores? I’ll report back.
What a gas it was seeing Chico Hamilton play drums at 89 years of age. He was around when the hi-hat was invented. His band recaptured that 50’s west coast sound, both mellow and slinky. Chico’s “Original Ellington Suite” lp with Eric Dolphy is one of my favorite albums and it was a real treat to see him live.
Over at the Lutheran Church Jack Garner introduced Jonas Kullhammar by thanking the Church for bringing a different kind of spirituality to its chambers.He said, “Sometimes the most beautiful prayer is a sax solo.”. Right on!
Jonas Kullhammar was even better in church. The band took a trip to Niagara Falls and the House of Guitars between dates here and they had dinner at Dinosaur Bar BQ. They dig into tunes like Coltrane’s band did, the ballads too, and they go all out. The drummer did an amazing solo on his cymbals. This Swedish band puts their own stamp on this formerly American idiom and make it exciting. These guys are the best band at the fest and we haven’t even heard the rest.
The Andrey Razin & Second Approach Trio over at Montage was small but mighty. These three stock Russians came off like siblings putting on a performance for their family. Lucky us, we were invited and we sat right up front at a table with Hal, Tom Burke and Barbara Fox, Brian Peterson and Tom and Paul Brandwein. Second Approach mixed opera and jazz and cartoon music. Nothing was lost in translation. The vocalists does not sing in any language but music. They were not just wacky, they dove into uncharted WTF territory. They are performing again tonight at the Xerox Auditorium.
More Jazz Fest photos can be found here.
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
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R.I.P. Chico Hamilton (September 20, 1921-November 25, 2013). Two WKCR Interviews and a DownBeat Blindfold Test
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2013-11-26T00:00:00
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Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the '90s I had the…
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en
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https://s1.wp.com/i/favicon.ico
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Today Is The Question: Ted Panken on Music, Politics and the Arts
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
|
Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the ’90s I had the privilege of doing two comprehensive shows with Chico, one a Musician’s Show in 1994, the other a five-hour Sunday “Jazz Profiles” show in 1996. Later, I had an opportunity to conduct a Blindfold Test with Chico at his East Side Manhattan apartment. I’ve appended the full transcripts below.
* * *
Chico Hamilton Musician Show, WKCR, July 20, 1994:
[MUSIC: C. Hamilton, “Around The Corner” (1992)]
TP: We’ll be creating sort of an oral autobiography. Chico is surrounded by records, of which we won’t get to a fifth. It covers the Los Angeles scene in the 1940’s and 1950’s, and a variety of people. The first selection cued up is “Tickletoe,” by the Count Basie, featuring the man who drummed like the wind, Papa Jo Jones, who seems to have been the person who influenced your approach more than anyone else.
CH: That’s absolutely correct, Ted. As a matter of fact, Jo… Actually, the first drummer I ever saw was Sonny Greer, and I was very impressed with him. I was a youngster, about 8 or 9 years old. But when I started playing, which was I guess 9 or 10 or something like that, and when I was in junior high school, all of a sudden Count Basie’s orchestra came on the scene, at least on the West Coast. We began to get his records. Then when I heard Jo Jones… Because Jo completely turned the rhythm aspect of drumming completely around, you know, with the sock cymbal. As a matter of fact, that last composition that you opened up with, “Around the Corner,” was sort of dedicated to Jo Jones and the Count Basie era because of the sock cymbal, you know.
TP: Let me turn the conversation to a few things you touched on in those few sentences. You came up in the Los Angeles area, and when you were ten years old it would have been around…
CH: Well, I’ll tell you. It was two weeks before baseball. How does that grab you?
TP: Do you care to elaborate on that one?
CH: [LAUGHS] Well, I started playing in the late Thirties and early Forties, more or less the early Forties. I guess when I was around 13-14 years old, we had a band, a big 15-piece band. It was under the leadership of a guy by the name of Al Adams, and the only reason why he was the leader is because he was the oldest. I think he was about 19 at the time.
TP: What was the age range?
CH: The age range was from 14 to about 19.
TP: From all over Los Angeles or from the neighborhood?
CH: From the neighborhood and from all over. We had guys like Dexter Gordon, Illinois Jacquet, Ernie Royal, Charlie Mingus, myself, Jack Kelso, Buddy Collette…
TP: Now, for those who aren’t familiar with the West Coast, tell us about the neighborhood, as specifically or as generally as you want to, and the circumstances by which you met, some of the factors in your musical education and so forth.
CH: Well, I don’t know how it was throughout the rest of the country, but in L.A., in the school system, you were required to take music, either Music Appreciation or an instrument or something. It was in the curriculum. You had to be involved with music. Regardless of whether it was junior high school or high school, you had to become involved in music. And at that time, L.A. wasn’t a very large place. As a matter of fact, everybody just about knew everybody. Young guys, young musicians will always be able to get together or find one another, just as they do today. That’s how it really came about. Also, we came out of Jefferson High School, which most of us attended. Buddy and Mingus, of course, were from the Watts area. But the school actually was the common denominator.
TP: There was a very prominent teacher at Jefferson High School, I recollect.
CH: Yes, his name was Samuel Browne, the music teacher there, who virtually, in a sense, encouraged all of us to become good musicians. At that time also, man, it was an unbelievable amount of… All the bands would come to L.A. As a matter of fact, they would let the kids out of school, man, when a band would come into town, which they virtually would come in on the train… They would let us go down to the train station to see Count Basie, Jimmie Lunceford, Benny Goodman, Earl Hines, all the bands.
TP: Where did they play?
CH: Well, there were several places, big cabaret dance halls, virtually. I guess they were called nightclubs, but they were big places. The Casa Mañana(?), the Palladium, the average dance hall name, but…
TP: So you’d have a band, a film, a couple of dancing acts and comedians and so forth…
CH: Well, at that time, most of the bands carried their own show. For instance, when I joined Count Basie’s band, Jimmy Rushing was singing, I forget the lady singer now…
TP: Helen Humes?
CH: Helen Humes. And the dance team that they had was the Berry Brothers, Coles & Atkins, and Pot, Pan and Skillet. All of these were fantastic dance acts. And that would consist of the show, sort of a semi-vaudeville type of show, but the band would be the feature — and they played all over the country. At the Avedon, which was a ballroom, this is where the bands that came in would play, and we all had an opportunity to hear Lunceford and Basie and Duke.
I consider myself very fortunate, Ted, because I came up during the right time. Because to be able to hear the originals, the people who invented this particular style of music, this way of playing… You know, I was there.
TP: I think one thing that’s misunderstood because of the nature of the recording process in the 1920’s and Thirties and early Forties is what the drums sounded like in the big bands and the actual presence of the drums. If you hear them on records, they sound kind of tinny or in the background, but I’ll bet that’s not what it sounded like when you heard Sonny Greer with Ellington, or Jo Jones or Jimmy Crawford…
CH: All of these guys, man…the drummer… You know that old phrase about “give the drummer some.” All of these guys, all of these drummers, all of these great, brilliant musicians, the drummers were determining the styles of the band. It wasn’t so much what the bandleaders were doing. Jimmie Lunceford used to conduct with the baton. Basie, sure, played piano; Duke played piano. But the actual sound of the rhythm, the feeling, the whole mood that was created by the bands was created by these drummers.
Now, Sonny Greer played a particular style of drumming which was like what we might refer to…your listeners might not understand about playing on the beat, one-two-three-four, two-two-three-four. He played DJUN-DJUN, DJUN-DJUN, DJUN-DJUN, DJUN, DJA-DJUN, DJUN-DJUN, DJUN-DJUN, CHOO-CHI-TU, that kind of a thing. Now, the Ellington band swung in that groove. Whereas with the Basie band, Jo Jones did DIT-DI-DANG, DIT-DI-DANG, DIT-DI-CHANG, DIT-DA, DIT-DA, and he swung that band with a completely different feeling than what Ellington had.
Strangely and oddly enough, even bands of today, here, what is this, 19…what year is this…?
TP: 1994.
CH: Here in 1994, a large ensemble still plays with either one of those two grooves, as far as the Jazz aspect is concerned.
TP: When did you start playing drums? When you were 15 or 16?
CH: Well…
TP: In the 1960 Encyclopedia of Jazz it says you started out playing clarinet.
CH: I did. I started out playing clarinet. And the reason I started out playing clarinet is because my best friend, Jack Kelso, played clarinet. So having my best friend play clarinet, I figured, “hey, I’d better…I want to play clarinet.” But I soon gave it up because it became a little bit difficult, you know… Also my older brother was playing drums. This was in grade school, so we had to be no more than 8 or 9 years old. When he… They graduated from grade school in those days, right! So when he graduated, I figured, well, since he was my brother and plays the drums, I’m going to play the drums. And I just started. I had no idea what a drummer did really, but I just said, “Hey, I’m going to do it,” and I just did it.
TP: You did it on his pair of drums?
CH: Well, it was the school drums. The school had the drums. As a matter of fact, we rented the clarinet for two dollars a week (can you believe that?) from the school.
TP: That was a lot of money then.
CH: Oh, tell me about it, man. Tell me about it. That’s virtually, in a sense, how I got started. The more I got into playing and the more I got into the instrument, the more difficult it became, and the more difficult it became, all of a sudden, I realized, “hey, this is it; this is what I’m going to try to do.” I started reaching out, and everyone helped me. Everyone. Everyone I played with.
TP: How would they do that? Talk about how musicians would help a young musician coming up, what the scene was like for a young musician in Los Angeles in the Thirties and early Forties.
CH: Well, in those days, there was a camaraderie, a relationship with musicians. You know, strangely and oddly enough, as young as I was, people like Jo Jones and Lester Young, people like that, the Charlie Parkers, they weren’t that much older than we were…
TP: You’re a year younger than Charlie Parker.
CH: Well, I probably was older than Charlie. I just mentioned him… But the fact is that Bird influenced me tremendously, when I came out of the service, in California. He and Howard McGhee virtually introduced me to what the Bebop scene was all about.
But back in the early days we were very much influenced by anyone that we heard, especially the ones with the names that came to the West Coast. And once the guys came out to the West Coast, it was… Everybody was friendly, everybody was warm. And we jammed a lot, man. We jammed all day and all night long! It was unbelievable, the amount of time we put in the jam sessions. That’s how we learned to play. If it wasn’t happening, somebody would pull your coat and say, “Hey, listen, why don’t you try doing this” or “why don’t you try to do that” or “Why do you want to do this?” — that kind of a thing.
TP: This is the Musician’s Show, and you’ve been listening to Chico Hamilton tell you about coming up there in the Thirties and early Forties as a young drummer. First on cue is “Tickletoe,” the Basie band with Papa Jo Jones. It also said in your biography that you studied with Papa Jo while you were in the Service in the first half of the 1940’s. Tell us about that, and then let’s get to some music.
CH: Well, I’ll tell you how dumb the Army was. [LAUGHS] I was already drafted, I was already stationed at Fort McCullough in Alabama, right. I wasn’t in the band, but I was attached to the band, which means that… They had four other drummers in the band, but none of them could play. They virtually really… I mean this. They couldn’t play. So whenever a show came through, they would send for me, and make… They put me in the drum-and-bugle corps. Now, I came into the Service carrying my drum under my arm. This is the truth, man! And you know, when they put me in the drum-and-bugle corps, do you know what they did? They made me play bugle! [LAUGHS]
Anyway, to make a long story short, when Jo Jones… This is why I’m saying how dumb it was. When Jo Jones and Prez, Lester Young, when they came through there… They were drafted, and they came through the same camp, man. They would not let them in the band! Man, it just broke my heart. They made them… At one time they wouldn’t even allow them to even associate, and come to the band room and things like that. Well, anyway…
TP: Well, Lester Young’s bad times in the Army are very well-documented.
CH: Well, they gave Prez a terrible time, man. First of all, he was a beautiful human being, man. He was a tremendously warm, sensitive human being, and so was Jo. What their contribution to what we call Jazz today, or in the Swing or whatever era…it will never be duplicated. Because try as you might, there’s no one that could get that sound and get that feeling Jo had or could get playing, and the same thing applied to Prez. But in the Service, I had a chance to get with Jo quite a bit when he would come off doing the daily Army thing. We’d get together at night, and we’d jam, we’d play, we’d practice. We would talk drums constantly, and talk music. It was priceless.
[Basie, “Tickletoe” (1940); Ellington, “Ring Dem Bells” (1931); Basie “Topsy: (1938); Lunceford, “Tain’t What You Do” (1939); Prez/Shadow Wilson, “Indiana” (1944); Prez/Chico, “Lester Leaps In” (1946); C. Hamilton Trio, “Tickletoe” (1992)]
TP: We covered quite a bit of ground on that last set of drummers.
CH: Well, just about. Music is very broad, Music is very big, Music is very long, and Music is very beautiful…
[ETC.]
TP: The 1946 performance of “Lester Leaps In” featured Chico’s long-time partner, bassist Red Callender.
CH: As a matter of fact, Red and I did quite a bit of playing together when I was out on the West Coast, when I was out in L.A. I just want to establish a fact that what the people here in New York, the East Coast people, everything they consider the East Coast Sound, which was a big thing, I guess, in the Fifties or Sixties regarding the East Coast versus the West Coast… How that originated, how that came about, I think it was in the Fifties or early Sixties, there was a club here in New York, Basin Street East, and for the first time I was coming east with my original quintet with the cello, with Fred Katz, Carson Smith, Buddy Collette and Jim Hall. We were playing opposite (are you ready?) Max Roach’s original quintet with Clifford Brown and I think it was Harold Land, and Richie Powell and George Morrow. So in order to stir up some…to hip business up, to make it a happening, the publicist started the East Coast versus the West Coast…
TP: Harold Land, of course, was from the West Coast.
CH: He was from the West Coast. But that’s how that East Coast-West Coast thing really got started.
But in the meantime, getting back to Red Callender, Gerry Wiggins, people like that on the West Coast, there was a definite… We had a very definite way of playing, a style, a West Coast style of playing. It’s just like they had a style, all the Kansas City musicians, the musicians from the Midwest — they had a particular style, a way of playing. They swung very heavy, right? Guys on the East Coast, they had their own thing going. I’m speaking before the Bebop Era came in…
TP: How would you put into words the Southwest sound?
CH: Well, the Southwest sound was more… The prime example is Count Basie, the Count Basie Orchestra. There was a band by the name of Nat Towles and Snookum Russell…
TP: Now, did those bands come to California?
CH: No, they didn’t make it to the West Coast. But this was a Midwest type of band. Because during the War years, the early part of the Forties, I sort of left the Service for a quick minute [LAUGHS], and went out on the road with Snookum Russell’s band in the Midwest.
TP: That’s the band J.J. Johnson left Indianapolis with.
CH: That’s right.
TP: What was that band like?
CH: It was just a swinging thing. Just out-and-out swing. I realize today when I use that terminology, “swing,” that a lot of young people don’t know what I’m talking about. But unfortunately, there’s no substitute for it. Because whether you’re playing Rock-and-Roll, whether you’re playing Pop, or whatever you’re playing, it’s got to swing. In other words, it’s got to have a pulse to it, to make you feel like, hey, snapping your fingers or patting your foot. That was the one thing that the Swing Bands did do, man. You couldn’t… It was hard for anyone to keep still when you’d listen to one of those bands.
TP: Also, in Los Angeles, a lot of the Black community came from the Southwest and the South Central parts of the United States, and subsequently settled there. So it seems to me a lot of that sound came into the Los Angeles sound in a certain way. True or false?
CH: Not necessarily. Not during those days. I don’t know… The fact that I was born there… Well, just from my generation up is what I’m familiar with in regards to what music was all about, what Jazz was all about. And the majority of those guys…
TP: They were from L.A.
CH: They were from L.A. Before then, who knows? We all came from…
TP: I was thinking about people coming for jobs in the Navy yards…
CH: Oh, no. Well, this was before then. That started when the War started; people would come there for gigs. But most musicians, if they came there, man, they came there to play. Because there was a zillion places to play at that time.
TP: Let’s talk a bit about the scene in Los Angeles towards the end of the War and the years right after. A lot of musicians also moved to Los Angeles who lived there for long periods of time, like Lester Young, who we heard you with, or Art Tatum…
CH: That’s right.
TP: …and many other people.
CH: Well, after the Service… I think I got out of the Service around 1945. But I came back to L.A. Before I went into the Service, the Swing thing was the thing, the Swing beat — [DA-DANG, DAT-DA-DANG], that was it. Right? When I came out of the Service and came back to L.A., I heard and saw for the first time, and just was blown away completely by Charlie Parker, Miles Davis, Erroll Garner, Howard McGhee, Teddy Edwards, Roy Porter, people like this. Man, this was a whole, brand-new kind of thing to me, man. Because I was down South, and I just only knew one way of playing. And to come back to the West Coast and start hearing Bebop, man, it was just absolutely amazing.
TP: Were you hearing the records when you were in the Service, as they came out…
CH: What records?
TP: Oh, you didn’t get any of those records. Okay.
CH: [LAUGHS] Those records didn’t come that far down there! No, unfortunately we didn’t have that opportunity to hear the records. But it was really amazing. As a matter of fact, man, I was fortunate enough to get a job, join a band by the name of Floyd Ray. In Floyd Ray’s band, there was a piano player by the name of Hampton Hawes, there was a trumpet player by the name of Art Farmer, and his brother, Addison Farmer, played bass. The tenor players were J.D. King, Bill Moore. People like this. It was a big band. We played for… As well as playing dances and things like that, we played shows at theaters. We were playing a show, and headlining the show was this little kid from Detroit by the name of Sugar Chile Robinson. We used to think it was a midget; he was a piano player. The Emcee of the show, who carried the whole show and the dance team, was the Will Mastin Trio, featuring Sammy Davis, Junior. Man, we were playing all up and down the West Coast.
We happened to be in Oakland, and this was maybe like on a Friday night… We heard that the Billy Eckstine band was coming to town to play a dance. And in that band was Art Blakey [PRONOUNCES “Blakeley”], Dexter Gordon and Gene Ammons. I’ll tell you, man, you talk about getting blown away! I had never in my life heard anybody play like Art Blakey! Right? And I was so influenced, carried away by his playing, that the next morning, when we were doing our show, I started trying to play…dropping bombs, as we say, playing Bebop licks on the drums. And man, I almost got fired, because Sammy Davis’ father told me…he said, “What the hell are you doing?!”
But anyway, that was my first really introduction to playing Bebop music. Hearing Art Blakey, man, was just… He turned me completely around. Whereas Jo had set things up in the beginning, he and Sonny Greer, Art Blakey really turned me around.
TP: He gave you a sense of the feeling.
CH: Oh, man, did he ever! Art Blakey was a brilliant, brilliant master percussionist. He was just an out-and-out hard-swinging drummer.
[D. Gordon/T. Edwards, “Blues In Teddy’s Flat” (1947); Bird, “My Old Flame” (1947); Dexter/Wardell, “The Chase” (1947); Howard McGhee, “Thermodynamics” (1946); Eckstine, “Blowin’ The Blues Away” (1944); Hamp/Mingus, “Mingus Fingers” (1947)]
TP: …after “Mingus Fingers” we heard the Billy Eckstine band, the tune Chico Hamilton said was the first he ever heard the band do, “Blowin’ The Blues Away.”
CH: Talk about blowin’ the blues away, man; it really blew me away, man! That was the band I heard in Oakland, California, I think it must have been in 1945, 1946. Man, can you imagine hearing a band like that? It was unbelievable. Unbelievable.
TP: That was a radio broadcast, and Art Blakey’s sound really came through well on that one.
CH: It was fantastic, especially in regards to the fact that they only used maybe a microphone for the reed section and one mike for the brass, and that was it — the rhythm section had to go for itself. The band was swinging, man. It was cookin’. You know?
TP: And I’m imagine they were playing for dancers as well, so there was a whole ambiance that doesn’t exist today.
CH: Well, that’s something that… For instance, every band…Count Basie… Basie had that thing that he knew the right groove to make you dance, want to dance. Jimmie Lunceford had that groove that would make you want to dance. Jimmie Lunceford’s rhythm was basically in a two-beat kind of thing. Basie’s was a 2/4. Duke Ellington? Once in a while you felt like dancing to Duke’s music. But Duke’s music, you listened to it more, in regards to, hey, you just cooled and listened to the amazing arrangements and the brilliant playing of the players.
TP: It seems to me that Ellington had different sets for different audiences, and he could pull out so many things.
CH: Well, different strokes for different folks!
TP: Before that we heard Howard McGhee on a couple of classic Bebop sides, “Thermodynamics,” featuring his virtuosic trumpet from 1947, with Jimmy Bunn on piano, who was present on a lot of these early West Coast dates.
CH: I knew some of Jimmy’s relatives, as a matter of fact. Jimmy’s cousin was a good friend of brother’s, Bernie Hamilton, the actor. Jimmy Bunn is still playing. He’s still in California, and he’s still playing very-very-very good. He perhaps was one of the most underrated players as far as recognition was concerned. But at one time, Jimmy Bunn, nobody in L.A., you know…
TP: He had first call, is what it sounds like.
CH: Exactly. If you couldn’t get Jimmy… Then when Hampton Hawes started coming on the scene, Hampton began to get all the calls. Also in there was Dodo Marmarosa. Dodo was originally from Pennsylvania someplace, but…
TP: Pittsburgh, I think.
CH: Pittsburgh, yeah. But man, Dodo could play, too.
TP: And he recorded with many people, including Charlie Parker.
CH: Yes, he did.
TP: Jimmy Rowles was active in Los Angeles at that time.
CH: Jimmy Rowles. My man, Jimmy Rowles! I haven’t seen Jimmy in quite a while, but last time I heard, he and his daughter were playing together. His daughter, Stacy, plays trumpet.
TP: Before “Thermodynamics” we heard “The Chase,” one of the most famous sessions of that time, also for Dial, recorded in 1947, with Jimmy Bunn, Red Callender on bass, and Chuck Thompson, a very active and strong drummer.
CH: He was a very good drummer. Very good. As a matter of fact, Chuck is still playing. And you mentioned another drummer on the West Coast…
TP: Roy Porter?
CH: I don’t think Roy is playing any more. But before Roy you mentioned…
TP: On one of these tracks?
CH: On one of the tracks.
TP: Well, Roy Porter played with Howard McGhee. And… Well, I don’t know who that was.
CH: He played with the Hampton Hawes Trio.
TP: Oh, Larence Marable.
CH: Larence, yeah!
TP: He was very active, and he’s now going out with Charlie Haden’s group amongst others.
CH: Hey, Larence is a fantastic player.
TP: He’s someone who had an impact on Billy Higgins when Billy Higgins was coming up in the Los Angeles area. Before “The Chase” we heard “My Old Flame” by Charlie Parker for Dial; Bird cut many sides for Dial while in Los Angeles. And we began the set with Dexter Gordon and Teddy Edwards, another tenor duel called “Blues In Teddy’s Flat” with Jimmy Rowles, Red Callender, and Roy Porter
Again, we have this combination of native Los Angeles musicians, and musicians who settled in Los Angeles from other places, like Teddy Edwards, who came from Jackson, Mississippi to Detroit to Los Angeles, or Howard McGhee, who was from Oklahoma, Detroit, then Southwest bands into Los Angeles. I’d like to ask Chico for brief portraits of some of your contemporaries. Let’s begin with Charles Mingus, because you knew Mingus when he was very young. How old were you when you first met? Do you remember?
CH: Well, let me see. I don’t know, I suppose I was about 10 or 11, something like that — 11 or 12. As a matter of fact, Charlie Mingus and my wife went to Sunday School together, attended the same church. Do you believe that?
TP: Which church was that?
CH: It was some church in L.A. I don’t recall the name of it. Buddy Collette and his family attended that church, and Mingus’ family, and my wife’s family attended the church. So actually she knew Mingus before I did. But we were unbelievably young, and unbelievable at that time as young players, as young dudes. We thought we were… As a matter of fact, some of the joints we played, we’d have to disguise ourselves to look older because of the booze thing. But Charlie and I came through a lot of wars together as far as playing on the bandstand. He developed into a very uncanny kind of a musician. I guess that’s my way of saying how brilliant he was. It hurts me, the fact that Charlie had to die a pauper. Because what he contributed to this thing called Jazz and this thing called Music, unfortunately, he really didn’t receive any of the benefits while he was alive.
TP: Some of the things that he wrote… “The Chill Of Death” which he recorded in 1971, was written, I think, when he was 17 years old! Do you remember these pieces, or seeing them? Did you talk about music or his compositions a lot?
CH: Well, you know, every conversation Charlie and I would have would be off the wall! I was never surprised at anything he would say or anything he would do…
TP: Or come up with musically.
CH: Or come up with musically. And I guess he might have thought about me the same way. A funny thing, though, when I came out of the Service, all of these guys, Charlie and Buddy, John Anderson and guys like that, they had gotten re-established again out in L.A. on the famous Central Avenue, and I had to come out… Nobody knew who I was, and I had to sort of establish myself all over again. I got pretty lucky, because I ended up being the house drummer for Billy Berg’s.
TP: A famous club where a lot of Jazz history was made.
CH: All the Jazz, that’s where it was.
TP: That’s where Bird and Diz came through when Bebop first hit the West Coast.
CH: Bird and Diz, right. That’s when I began to play for all the singers, too, at that time.
TP: What were the chain of events that led to that? It couldn’t have been just luck.
CH: Me playing at Billy Berg’s?
TP: To be the house drummer, especially then, you had to be versatile, be able to basically play anything, read, and so forth.
CH: Right. Well, I’d played for him before I went into the Service. He used to have a club called the Club Capri, before Billy Berg’s. As a matter of fact, at the Club Capri, this is when I first… Norman Granz used to be like a go-fer for all the guys. [LAUGHS] You know, he ends up being a zillionaire, an entrepreneur. But anyway, to make a long story short, at the Club Capri, that’s where Lorenzo Flournoy’s band, Red Mack’s band, Lee and Lester Young… When Prez first left Basie’s band, his brother Lee Young had a small group. These were all small groups, no bigger than five or six pieces, seven pieces at the most. Billy Berg’s was the number-one room in Los Angeles at that time. That was it. If you played that room, it was fantastic.
The other room that was called the 331 or the 333, I forget…
[END OF SIDE 2]
…of my playing, of my career, I played with this guy named Myers, Old Man Myers. He kept me on brushes. He wouldn’t let me play sticks at all, man. We would go out and play at least three or four nights a week. Right? I was lucky enough to make… He’d pay me like maybe 75 cents, I mean, really 75 cents! — we were lucky if we made a dollar. But I would play brushes constantly. Constantly. Every time I’d get ready to pick up the sticks, he said, “Put those sticks down!” So fortunately, that helped me to develop a stroke that swept me into some of the choicest gigs at that time.
TP: This conversation evolved from word portraits of some of your associates in Los Angeles at this time. I’d like to ask you about Dexter Gordon, who was a few years younger than you, but came up around the same time.
CH: Well, can you imagine… When Dexter was about 10 years old, he was already twelve feet tall. Then he shrank! We used to call him Big Stoop, from the character in the comic strip Terry and the Pirates — if anybody remembers that.
Anyway, Dexter and I… You might not believe this, but Dexter Gordon and myself, and a trombone player by the name of James Robertson, we were the only three guys, three people period, to get an A in English in high school. That was the toughest teacher in the whole entire system. Her name was Mrs. Smith. And Dexter and myself and James Robinson got an A in English, man!
As a matter of fact, Dexter started off playing clarinet, and he used to play clarinet, he used to come on the campus… Dexter was like the pied piper. Dexter would play his horn anywhere, in the hall, in the room, it didn’t matter — all over the school. And he loved Prez. He just adored…
TP: Took apart the solos and…
CH: Everything was note-for-note. So that’s how we learned to play, virtually, in a sense, by copying the masters, the people who invented that way of playing. But Dexter was, again, a brilliant, fantastic, inventive kind of player. And to be among this kind of talent, you know, you just took it for granted that, hey, he could play, I could play, Ernie Royal could play, you know…
TP: And you went out and played.
CH: And we went out and played.
TP: And then things happened, people heard you, and that’s how…
CH: Exactly.
TP: A few words about Red Callender.
CH: George “Red” Callender. George was a little older than myself and Mingus and Buddy and Jack Kelso. But we had a tremendous amount of respect for Red, because Red was the big-time already. When we got on the L.A. scene before the war, well, Red Callender had been playing with Louis Armstrong and playing with all the big names. And the fact that he was local, he was in L.A., and we… He was… You know, just to be in his presence was something. It meant something to us. We all befriended each other, and we came up this way.
As a matter of fact, at one time Red Callender, myself and a piano player by the name of Dudley Brooks, we were the only three Black musicians that were ever hired by the studios out there; actually put on staff, you know, at Paramount Studios at one time. Because at one time it was a no-no. But we got a job… I was playing for… It was equivalent to being the rehearsal player. I was like the rehearsal drummer. I used to keep time for people like Marilyn Monroe, Sherrie North, I used to work with all the dance directors out there, keeping time for them while they got their act together. But it got boring after a while, and I split.
TP: But the money must have been nice.
CH: Hey, man, listen. It was steady. Right? To get paid every week? It was unbelievable, man. But I don’t know, man, I was always pretty fortunate. I was able to… I’ve been lucky, blessed, because I’ve been always able to have a gig.
TP: Well, it seems you’ve been very flexible and adaptable as well, and yet very determined, and with very definite sounds in your mind’s ear.
CH: Well, I’ve always, first of all, been very proud of my profession. Like, I’m a professional musician, just like a doctor is a professional or a lawyer is a professional. I’ve been very, very highly… Well, this is what I do. In other words, this is the jokes, folks. And I don’t fluff it off. I never blow a gig, man. Whether I sound good or bad or indifferent, man, I’m playing my heart out. I’m playing the best that I can at that time. And that’s it. That’s the way I came up. And I believe in music. I believe in what I’m doing. People are always wondering what I’m going to come up with next. I have no idea what I’m going to come up with next. But I know that when the time comes for me to come up with something different, or change, I will change. I don’t like to get bored.
TP: Well, you were the envy of hundreds of thousands of men as the drummer with Lena Horne for five or six years. The listing is ’48 to ’54, approximately. Is that right?
CH: No, as a matter of fact, ’47 to ’55, I think it was. I’ll tell you, playing for Lena was truly an experience. I give her a tremendous amount of respect and a tremendous amount of credit in regards to her musicianship. Most people don’t realize what a fantastic musician this woman is. And through her, and with her, her late husband, Lennie Hayten, and Luther Henderson, I had an opportunity to really learn what music was all about, how to express what you feel and what you think. Even to this day, man, we’re still friends. I don’t see her that often. But as one of the singers that I had a tremendous amount of respect for and that I kept time for, I would put her up at the top of the class.
TP: Our next selection is by the original Chico Hamilton-Buddy Collette Sextet, recorded for Johnny Otis’ label, Tampa Records, or Dig Records, available through VSOP Replica Editions.
[MUSIC: Chico Hamilton/B. Collette, “It’s You” (1956); Tony Bennett, “Lazy Afternoon” (19 ); Gerry Mulligan, “Frenesi” (1953); Billie Holiday, “Too Marvelous For Words” (1953); C. Hamilton/John Lewis, “2 Degrees East, 3 Degrees West” (1958); C. Hamilton, “Where Or When” (19 )]
TP: That was Chico Hamilton singing, from The Three Faces of Chico, the Chico Hamilton Quintet on Warner Brothers. That’s the group that had Eric Dolphy, one of his four or five recordings with Chico, although of course not prominent on that particular track, Dennis Budimir on cello, Wyatt Ruether(?) and bass and Chico Hamilton on drums.
[ETCETERA]
Let’s begin with the Tony Bennett side and the vocal tracks we heard.
CH: At one time I played for Tony, I kept time for him, and we became friends. When I went out on my own, with my own group and everything, I happened to be on the East Coast, as a matter of fact, in Philadelphia, and I got a call from Tony. He had this idea that he wanted to get all the drummers together. He had me, Jo Jones, Art Blakey, and I forget who else was on there. He wanted to record with all of us. Tony has always been a rhythm man. He’s always had a fantastic appreciation for drums, for drummers…
TP: It had Candido, Papa Jo, Billy Exiner, Sabu…
CH: Billy Exiner was playing with Tony Bennett at that time, and Candido, myself and Jo Jones, right?
Tony asked me which one of the tracks would I play on, and some kind of way, the idea of “Lazy Afternoon” came up, and I told him I really would dig playing to see what I could do with the sort of orchestral approach to the way he was singing “Lazy Afternoon.” And it turned out gorgeous. It really turned out dynamite. We were more than pleased. That’s how that came about.
TP: That’s from The Beat Of My Heart on Columbia Records. Now, Billie Holiday spent a lot of time in Los Angeles as well.
CH: Yes, she did.
TP: Were you a regular part of her group for a while, or was that just a session?
CH: No, no, I was part of her group for a while. I played for Lady in several different groups. At one time, one group consisted of Hampton Hawes, Wardell Gray, myself and Curtis Counce!
TP: Lady Day must have had a chance to rest her chops!
CH: Man, you’re talkin’ about cookin’! We were swinging.
TP: Did you play bebop licks under her, or… How was she in that regard?
CH: Lady kept good time, so all I had to do was swing. I just played myself, you know. As a matter of fact, all of us did. That’s what we did. She was a tremendous musician as well, and she dug musicians being themselves, players being themselves. As a matter of fact, that’s how Prez named her Lady, because she was cool that way. I met her, man, when I was about 14 years old!
TP: What were the circumstances?
CH: Well, I went to a jam session over… Lorenzo Flournoy, who was a piano player at that time, who I was playing with at the time. I was just a kid, man. I knew Prez, man, and Prez asked me, “Do you want to meet Lady?” I didn’t believe it was her, man. She was at the session, right, in the house. That’s where everybody used to put on a big pot of red beans and rice and things like that, and we would blow all day long, right? She was sitting on the saxophone case, she and Prez were sitting on this case. And man, when I came up through the door and I looked at her, I said, “Hey…” I told a friend of mine, [WHISPERING] “Hey, there she is! That’s Lady.” And when we went inside, Prez introduced us. From then on, from time to time I would see her then. Then later on, I started playing for her, working for her, doing dates and everything. At one time, the group was Bobby Tucker and myself…
TP: He was the pianist.
CH: He was a pianist, a fantastic pianist. Bobby was with Eckstine. He was with B for thirty or forty years almost. When he left Lady he joined Billy Eckstine.
TP: And you worked with Billy Eckstine for a minute, too.
CH: I worked with Billy Eckstine. Also I played for… Oh, heh-heh, I played with Billy Eckstine, I played with Sammy Davis, I did some things with Danny Kaye, Ella… Oh, yeah, I forgot about Ella Fitzgerald. And I kept time for Sarah once in a while…
TP: All singers with different styles, different approaches of playing off the drums.
CH: Exactly. Here again, remembering something about Lena Horne: I was right on the floor behind Lena, and the band was behind me. It was very unusual, because here’s the singer, the drummer right behind her, and then the band, the orchestra would be right behind me. It worked. It worked beautifully. I really developed a way of playing for her to the extent it wasn’t offensive; I didn’t get in her way.
TP: Was Billie Holiday a strict rehearser, or was it just get in and hit?
CH: No, Lady was cool, man. She was cool. Every singer I have ever kept time for was very sincere about what they did. And I’m saying that in a complementary way. Whether you understand that, or reading in between the lines or whatever… It wasn’t easy playing for singers, man. It’s not easy. I have a tremendous amount of respect for any drummer that can keep time for a singer.
TP: Why is that?
CH: Well, you never know what a singer is going to do. Because some singers react differently. They react to what people… They react to the audience. If they feel as though they’re not getting to the audience, then they’re going to push, or they think…or either they’re going to fluff off something or whatever. And the first one they’re going to take it out on is going to be the drummer. “What’s the matter? Can’t you keep time?” That sort of thing.
TP: So we’re talking about temperament now.
CH: Exactly. That’s the reason drummers are cool, man. You know, a drummer sits up… When you start to realize that a drummer has to keep time for people, musicians, people he don’t even like, you hear somebody playing, somebody getting their oobies, they’re not making any music, but they’re just sounding like the teacher’s out of the room, that kind of thing — and you have keep time for that and you have to make it sound like something. You know? Because there’s only one drummer.
TP: Well, sometimes there’s two.
CH: No, you’ve only got one drummer, man. One drummer’s keeping time, man. Also, I’d just like to acknowledge the fact that people in general see conga players, timbales players, bongo players, people playing drums with their hands, and they say, “Hey, this is dynamite; that’s fantastic.” But there’s nothing, nothing in the world like a drummer sitting down playing on a set of drums, where his left foot is doing something different from his right foot, his left hand is doing something from his right hand, and the hands are doing something different from the foot, the foot is doing something different from the hands, and he’s playing on at least a half-a-dozen drums at the same time. This is amazing, man. This is really something.
TP: You were part of the Gerry Mulligan pianoless groups on the West Coast in the early 1950’s, and that was a different side of your work as well. Talk about your hookup with him and your contributions to the music as it was developed.
CH: Well…heh-heh…
TP: Uh-oh, I stuck my foot in it.
CH: No. Well, I believe that it just happened to be four people in the right place at the right time. That story is… I can go on and say, “Well, I did this or Gerry did that, or Chet did this, Chet did that,” that kind of thing. No, it just happened that we happened to be in the right place at the right time, and we got together… As a matter of fact, we got together at my house for the first rehearsal that we did. Gerry was out in L.A., and I was out in L.A. at that time. I was still under the employment of Lena Horne, but I stayed home; I didn’t want to go to Europe that year. In the meantime, I was playing with Charlie Barnet’s band, and Gerry used to come out and hang out with me every night at the bar. [LAUGHS] As a matter of fact, he said to me one night, “You know, if I was Charlie Barnet and you played for me like you play for Charlie, I’d fire you!” Because I used to do some pretty funny things with that band. Anyway, Charlie didn’t mind. He was a prince, man. He was a dynamite dude.
But Gerry and I got together, and we were talking about this and that, and next thing I know, hey, he contacts Chet and Bob Whitlock, and we get together, and we just… Like I said, man, it started happening. And it happened, from the first time we sat down to play. I would say everyone contributed, one way or the other; everyone contributed to making the quartet the way it was. That’s how it came off. That’s the reason it came off. It wasn’t just a question of Gerry Mulligan being Gerry… Well, it was a question of Gerry being Gerry, Chet being Chet, me being me, and Bob Whitlock being Bob Whitlock.
That’s putting it simple, man. Mild.
TP: Would you like to get complex? At any rate, the first track we heard featured the genesis of the Chico Hamilton group, the Buddy Collette-Chico Hamilton Sextet, from Tanganyika. You go back as far with Buddy Collette as you do with Mingus, with Dexter Gordon, and so forth.
CH: Right. We go back when we were young dudes, kids more or less, young guys on the scene. As a matter of fact, the first time I heard Buddy, Buddy had his own band, and he had Mingus playing. Mingus really started off playing cello with Buddy’s band, and Buddy made him get the bass, because he realized that the cello was a little weak, that kind of thing, trying to play cello like a full-sized bass. I went out to hear him one night, I went all the way out there to Watts, right — I’d heard about him. I asked him could I sit in, and I did. One thing led to another, and the next thing I know we were all playing in all the bands around L.A. It was interesting.
TP: How did that band develop a repertoire? Because eventually, both of you were working toward a really broad tonal palette particularly.
CH: Yes.
TP: I mean, along with swing, but it went… Talk a bit about that.
CH: What we did, virtually, in a sense, we copied every record that we heard by Count Basie and some of the Duke Ellington things and Jimmie Lunceford, but between them, Jimmie Lunceford and Count Basie are the bands that we imitated, even down to the solos, note-for-note. We even played the same solos, that type of thing. All the licks. I tried to play all the drum licks that Jo Jones would play, that type of thing. And eventually, it was very successful, because also, you must remember, we didn’t have… It wasn’t a matter of deciding whether you were going to play Rock-and-Roll, or whether you’re going to play the Blues, Rhythm-and-Blues, or whether you’re going to play Pop, or whether you’re going to play Country, or anything like that. There was only one kind of music, man, and that was Swing. So in a sense, it was relatively easy. Because hey, there was only one way to play.
TP: We forgot to play some of the sides you backed T-Bone Walker on for Imperial.
CH: Hey! He was amazing.
TP: So we’re going from T-Bone Walker to Tony Bennett to Charlie Barnet’s band to the Gerry Mulligan band…
CH: Right.
TP: You really were covering the whole spectrum of Swing music in the Forties and Fifties.
CH: Well, I’m fortunate. I’ve been fortunate, man. As a matter of fact, I’ve been blessed to be able to do that. Because it was broad. It was very broad. That’s what the spectrum was in regards to what Jazz was all about. Still, even now, what Jazz is all about.
TP: And we’ll be hearing an aspect which Chico Hamilton is defining in his group, in many ways, the cutting edge, one branch that Jazz is in the process of becoming.
CH: Well, I could go through a whole great big series of stories about, “Well, I decided to do this, I decided to do that.” But I don’t know, man… Here, again, about the original quintet with Fred Katz on cello, Buddy Collette on reeds, Jim Hall on guitar and Carson Smith on bass, here again… It’s not a copout, but I feel that it just happened to be five guys in the right place at the right time for that to happen.
TP: Things were in the air…
CH: Things were in the air, and it happened. Because no one knows why it happened. But it happened, and it worked.
[ETCETERA]
This is the first record that Eric Dolphy ever made. This is a Billy Strayhorn composition which is one of my favorites. Most people… A majority, I would say, of Eric Dolphy’s fans and audience don’t realize, or didn’t realize what a tremendous flute player Eric Dolphy was. And this is my presentation of Eric Dolphy, “Something To Live For”
TP: From Strings Attached on Warner Brothers.
[MUSIC: C. Hamilton/E. Dolphy, “Something To Live For”; C. Hamilton, “Mandrake”; C. Hamilton, “Taunts of An Indian”; C. Hamilton, “Guitar Willie”]
TP: A selection of four compositions and performances by various groups under the leadership of Chico Hamilton. That last was “Guitar Willie,” featuring the late Eric Gale from Headhunters, on Solid State, and my guess is that it was recorded around 1970. Do you recollect, Chico? Of course, being a Solid State release from that time, there’s no date, but they have a zip-code.
CH: Probably around ’68. Eric used to do a lot of commercials with me when I was knee-deep on Madison Avenue, you know, doing commercials. That’s music for commercials. Here again that was sort of unusual, because just to have the bass walking and myself keeping that time, and the horns… Steve Potts was on there, and I think…
TP: Russ Andrews on tenor.
CH: Yes, Russ.
TP: Ray Nance appears elsewhere on this release.
CH: That’s right.
TP: And Jan Arnett on bass.
CH: Jan Arnett. It was a happening.
TP: Before that a few selections by the current group, Chico Hamilton and Euphoria. Before that, a very beautiful and affecting piece, “Taunts of An Indian Maiden,” a dedication to your mother.
CH: I dedicated to it to my mother. She was an Indian maiden, you know?
TP: That’s from Arroyo, a 1990 release, with Eric Person, saxophone, Cary DeNegris on electric guitar, and Reggie Washington, one of the better electric bass players around, playing acoustic bass.
CH: Well, he’s playing electric on that. He just sounds… That’s how well he plays it. He’s one of the few fender players that can get the sound of an upright bass.
TP: Before that we heard “Mandrake,” the group’s arrangement of Eric Dolphy’s composition, one of seven compositions arranged by Chico Hamilton and Euphoria on My Panamanian Friend, the most recent release by the group.
CH: It’s an interesting thing. Jeff Caddick was the one who suggested that we do an album of Eric Dolphy’s music. And the more we got into it, the more we started talking about it, the more I realized and he realized, as much as people talk about Eric Dolphy, nobody plays his music.
TP: Well, Oliver Lake is one, and a few other people play his music, but not so much.
CH: Not that many. Hopefully this will shake them up again.
TP: The way that you arrange and set up your songs… I think if one held to a stereotyped view of a Jazz musician, and heard you from all these sessions in the Forties and Fifties, to hear the sound of your bands would seem disjunctive. But it’s obviously not. You’ve always had a predilection, for one thing, for saxophone players who like to get into the extremities of the instrument, from Eric Dolphy to Charles Lloyd to Arthur Blythe to Steve Potts to your current saxophonist, Eric Person.
CH: Well, look, to simplify it, that’s what I’m all about. I’m into sounds, and anybody that sounds different or original (which is pretty difficult) I’m for. I’m open, as far as all music… First of all, I understand fully that it takes all kinds of music to make music. I also understand that I’ve been blessed to the extent that I’m able to make music at this stage of the game of my life or my career, as opposed to just playing it. So that’s what it’s all about. Music I believe is one of God’s will, and God’s will will be done. Right? That’s the name of the game.
TP: If it’s meant to be… Well, you’re making it happen.
CH: Hey, that’s what it’s all about.
TP: A few words about the people in your group. A few words about how musicians find you and you find musicians. Eric Person, first of all.
CH: As a matter of fact, Eric was introduced to me by Arnie Lawrence. Arnie had heard Eric when he was in St. Louis. I think he was at Eric’s school. When Eric came to New York, I think he contacted Arnie, and Arnie in turn contacted me, and that was it. Right away we hit it off. I helped him to grow, and he’s grown, needless to say, and developed into one fantastic kind of a player.
TP: You may not be able to hold on to him.
CH: Well, it’s not a question of holding on. He’s supposed to go on to bigger and better things. That’s what I’m all about, again. Hey, you come this way, you pass through me.
TP: He’s currently with Dave Holland’s group and the World Saxophone Quartet as well as Chico Hamilton’s Ensemble.
CH: Well, this is good, because this gives him an opportunity to play all kinds of ways. I haven’t heard him with the other groups, but I imagine he plays different with them than he does with me. Because we play a different kind of music; a different kind of rhythm, let’s put it like that.
TP: Cary De Negris, the guitarist.
CH: Cary met me. Cary called me when he came from Albany, New York, I think. His potential I heard right away, the first time I heard him play. He has developed, needless to say, into really some other kind of guitar player. He is perhaps one of the most fluent players that’s on the scene today, period, regardless of what style or what kind of guitar playing there is to be played. He’s doing it.
TP: Finally, Matthew Garrison, the group’s newest member.
CH: Well, Matthew’s father used to play with me, Jimmy Garrison. At one time he did dates and things with me. He was brought to my attention by Cary De Negris, who heard him and said, “Hey, Cheeks, you’ve got to hear this bass player.” As a matter of fact, man, he’s so prolific, he sounds like a guitar player. He’s got chops.
TP: Well, his father had that type of fluency in his sound also.
CH: Exactly. So I’m more than pleased, man. I’m having a ball. Because hey, we’re making music.
[MUSIC: “Song For Helen” (1992)]
[-30-]
* * *
Chico Hamilton Profile (WKCR) – (1-14-96):
[RECITAL ON “In the Beginning”, Dance To A Different Drummer: “You know how this all started with me playing, the drums. I guess I was around 8 years old when my mother took me to see Duke Ellington and his Famous Orchestra at the Paramount Theater in Los Angeles, and for the first time in my life, not only did I see an orchestra, but I saw on this pyramid, the top of the pyramid, on top of the whole band was the one and only Sonny Greer. I had never seen anything like this in all my life. Matter of fact, he had so many drums, he had more drums than a drum store. But he was really something special. And that impressed me, the way he played, the way he had control of the band, and the sound he got. He was also perhaps one of the first percussionists in every sense of the word; not just a drummer, but a percussionist, a man who made sounds. Everything he touched made a sound, and it blended and it worked with what Duke Ellington had written and played. Like all kids, it was an impression that stayed with me, and I decided that’s what I wanted to be — another Sonny Greer.”
____________________________________________________________
TP: Chico, do you remember what year you first heard Sonny Greer?
CH: I don’t remember what year it was I heard the band, and I wouldn’t even tell you if I did remember! I was around 8 or 9 years old when I first heard the band.
TP: So it was probably when Ellington first came out to the West Coast, around ’30-’31.
CH: It probably was. You know, one thing about being on the West Coast, all the bands came there, not only Ellington, but Basie, Earl Hines, Benny Goodman, Dorsey — all the bands eventually came to the West Coast. A miraculous thing is the fact that the Board of Education system out there, it was compulsory to take music in all the schools in the system, whether you took a music appreciation course or rented an instrument to play or something like that. Whenever the well-known bands would come to the West Coast, they used to let us out of school to go down to the train station to greet the bands as they came in. Fundamentally, all the guys from the Royal brothers, Ernie and Marshall Royal, Dexter Gordon, Buddy Collette, myself, Jack Kelso, Charlie Mingus, all of us…
TP: Grew up in the same area.
CH: We grew up in the same area, with the same musical aspect in regards to… Like all kids, we had a band…
TP: Where exactly in Los Angeles did you grow up? Was it around Central Avenue, later the real music strip?
CH: Yeah. Los Angeles at that time was the East Side and the West Side, and I think Main Street divided L.A. into what was East and what was West. I was born on the East Side of town and then grew up on the West Side of town. Central Avenue was the street, our avenue; that was our 52nd Street. It only consisted of two or three blocks, but within those two or three blocks, man, you had everything…
TP: You’re talking about the 1930’s, now.
CH: The late 1930’s and the ’40s. They presented a big documentary about the jazz on Central Avenue not too long ago. It’s part of the curriculum at UCLA or one of the schools. Central Avenue… You had the Dunbar Hotel, and then inside the Dunbar Hotel was the Club Alabam, which was the equivalent to the East Coast Cotton Club — the same type of shows.
TP: It would have been the equivalent to the Theresa Hotel in Harlem, or the Braddock or the Woodside.
CH: Exactly. From there, that was the number-one club or joint… That was super big-time, where all the big bands played. Then right outside of Hollywood, in Culver City, there was a club, which I forget the name of. They had at least half-a-dozen big, big rooms, big joints where all the bands played, which made it very lucrative for bands to come to the West Coast, from the Palladium to the Ambassador Hotel. But Central Avenue was the avenue, man. When I was a kid, I used to burn matches and make a moustache so that I could look old enough to go in these joints. This is when Duke Ellington’s band with all these guys, Ben Webster, the people who invented this kind of music, who really did it, were on the scene…
TP: When the bands would come out, the musicians would also circulate after-hours or in other situations, and you would have contact…
CH: This is what I’m getting ready to say. After the gigs, we all hung out at a place called Lovejoy’s which was a joint on Vernon and Central, right on the corner, upstairs. Man, many a night I used to stay in there until 7 and 8 o’clock playing, jamming, and man, I’d have to rush home and go to school… I was in high school, and I’d do everything I could to get the cigarette smoke off of me. But man, we had a ball; we would have a ball. This is how I learned to play. One thing about it, the pros helped us; they helped all the young players. They would listen to you and you’d get a chance to play with them, and they would advise you, give you some tips on what to do and what not to do. Unfortunately, I don’t know whether that still happens today. It was really, really different.
When I got drafted and went to the War and came back, it was a different Central Avenue altogether — completely different. Before I went, all the movie stars and everybody used to hang out on Central. That was it. It was just like hanging out on Broadway here in New York at one time. But when I came back from the War, music had changed completely. As opposed to the Swing thing, we were into the Bebop. Miles, Diz, Bird, Erroll Garner — everybody was in Hollywood at that time.
TP: You got back when?
CH: Late ’45.
TP: Right around when Dizzy Gillespie and Charlie Parker got into Billy Berg’s.
CH: Exactly.
TP: Did you come from a musical family?
CH: No.
TP: Where did the inspiration to play music initially come from.
CH: That’s a very good question, man. I don’t know. I’ve always…music has just… First of all, I’ve never done anything else but play music, or make music, or been into music. My closest friend at the time, who is still my best friend, Jack Kelso, had a clarinet, and I figured since he had a clarinet that I’m gonna get me one; I want to play because my best friend is playing. We were both about 7 or 8 years old, something like that at that time, and that’s how it worked out. To play drums just was a sheer accident, because my older brother was fooling around with the drums in the school orchestra when we were both in grade school, and when he graduated, they didn’t have a drummer, so I just said, “Hey, since he’s my brother, I might as well play.” And I went in, sat down and started playing. I had no idea what I was doing. And the next thing I know, I had the gig, because nobody else wanted to play. Other than that…
TP: Did anybody give you lessons outside of school?
CH: Yes. A friend of mine… I don’t know if you’ve ever heard of Oscar Bradley. Oscar Bradley was on the West Coast; he was the drummer with Les Hite’s orchestra. I used to hear them play. They used to rehearse ar a playground near where I lived. Before I went into the Service, I took some lessons from Lee Young, Prez’ brother. That was about the size of it.
When I went into the Service, there was a drummer by the name of Billy Exiner, who played with Claude Thornhill. Billy taught me how to read music. He’d climb over a mountain, man! It was two camps then, and one was Black and one was White.
TP: This was at Fort McCullough.
CH: Fort McCullough, Alabama, man.
TP: It’s known infamously in jazz history because of the treatment accorded Lester Young and Papa Jo Jones.
CH: I was there, man, when that happened. But Billy Exiner taught me how to read drum music. Actually, I was more or less self-taught. Then when I came out of the Service I enrolled in the Los Angeles Conservatory of Music on the G.I. Bill. That’s when I really got serious about… Well, I was serious about playing, period. I was blessed because I always was able to hear things. I used to depend upon my ear as far as music was concerned, for arrangements, cues and things like that. The fact is that as a teenager, man, I was playing shows, burlesque shows, where you’ve really got to catch all the cues, all the kicks and things like that.
TP: Tell me more about the gigs you had when you were a teenager. When did you first play for a sum of money, and how much was it?
CH: A sum of money? It was 75 cents; like, a half-dollar and a quarter. My friend Jack Kelso and I used to play in a neighborhood band led by a man named Myers, who we called Old Man Myers. He had a family band. One of his sons played piano, another one played trumpet, another one played trombone. It was very common during that time for families to have family orchestras. Most families who were musical had a band…
TP: Such as Lester Young’s family, Louis Jordan’s family, Oscar Pettiford’s family…
CH: Exactly. So it was a very common thing. Jack was playing alto saxophone by that time, and I played drums, and we joined the band. We would rehearse and rehearse, and we’d play. As far as the gigs were concerned, we would drive for half-a-day, it seemed like, outside of L.A. to play a lot of different roadhouses. We had a kitty, and people would give us money to play certain tunes. Funny thing, the name wouldn’t be up there. They wouldn’t say “Myers’ Orchestra”. They would say “All-Colored Orchestra.”
TP: Did that mean that they could expect to hear a certain type of music? Were you expected to play in a certain way.
CH: That was the feature. They knew that at least we wouldn’t be Country music or some down-home stuff or whatever.
TP: What type of things did you play in that orchestra?
CH: We played just the regular standard music, the old standard tunes like “Stardust.” No original material. We just played time whatever was popular on the radio at that time. It was relatively simple. As far as I was concerned, I just had to keep time. He wouldn’t let me use sticks; I always had to use brushes. I’ll tell you, man, I ended up… Every important job that I got seemingly was due to the fact that I could brush, keep time, and be smooth and cool with it. Because I spent about 15 years or more just being an accompanist, playing for singers. But during that time I wanted to play with sticks and he wouldn’t let me. Every time I’d pick up the sticks he said, “Put them sticks down!”
Jack and I used to come home… Sometimes we’d make a buck-and-a-half. Riding for about four or five hours, then playing until 2 or 3 in the morning kind of thing. This was on the weekends, Fridays and Saturday nights.
TP: And you were 14-15-16 when this was happening.
CH: Yes.
TP: At the same time, you were at Jefferson High School, which had one of the most distinguished music programs among Black high schools in the country, and one of the great music teachers, Samuel Browne…
CH: Well, first of all, Jefferson High School wasn’t a Black high school. It was a school in the area, on the East Side. As a matter of fact, man, it was one of the most beautiful schools in the whole state of California. It was the duplicate of Monticello, Jefferson…
TP: Built along the lines of Greek Classical Architecture.
CH: Yes. And there was no such thing as all-Black. There were just as many White students as Black students.
TP: So the community wasn’t as segregated as it later became.
CH: The community wasn’t segregated at all. Because it was a deep mixture. I was born that way. I grew up that way. So it didn’t become…well, if you want to refer to what is a ghetto, what is not a ghetto… It didn’t become a reservation, man, until after the War, when the War started. Because as people progressed financially, they moved to different areas. In fact, the only ghetto area in L.A. at that time was one called Ball Heights, which consisted of a lot of Yiddish, you know…
TP: The Jewish neighborhood in Los Angeles was the only real enclave based on ethnicity or race.
CH: Exactly. And when those people became successful, they moved to Beverly Hills. They started up Beverly Hills.
TP: I’d still like you to talk about Samuel Browne.
CH: Well, Sam Browne was a very good instructor, a very good teacher. But I don’t think he dug me and I didn’t dig him. I didn’t really take music in school. As a matter of fact, he used to give me hell because I was gigging at night, getting to school sometimes on time, sometimes not on time. I wasn’t in the school orchestra at that time, with Dexter and Jack and James Nelson and all those guys. As a matter of fact, I was working with Lorenzo Flournoy working for Billy Berg, at his first place, called the Club Capri.
TP: This was around ’38 or so?
CH: ’38, ’39, something like that. This is before Prez left Basie. I was big-time, man. I think we were making about $37 a week, which was a lot of dough. I had my own car. I was slick. I was cool. But I was already playing… The only reason why I joined the school band was to get a sweater, which they gave you, and I could go to the games free.
TP: That band played a rather challenging repertoire. According to Art Farmer, who was there in 1945, they played Dizzy Gillespie charts at that early time!
CH: Well, yeah. See, that was after my time.
TP: What was he doing in the late 1930’s?
CH: They were playing Swing music. Some Ellington things, Earl Hines kind of things, Horace and Fletcher Henderson, those kind of charts. But here again, I never did anything with them. But the band that came out of Jefferson was a band called Al Adams during that period. We formed that band, which was myself, Dexter, James Nelson, Jack Kelso, Buddy Collette, Mingus, Lady Wilcor(?), my brother-in-law James Henry, who was a trombone player, Ernie Royal was in it. We were all about 15-16-17 years old. As a matter of fact, when Illinois Jacquet first came to L.A. he joined us, and he was about 16 at that time. Man, this band, we raised so much hell… If a union band had a gig and it was paying $5 we’d take the gig for $4 We raised so much hell with the union, they made a deal with us, and we got into the union practically for nothin’! They were so happy…
TP: Get rid of the competition.
CH: From then, we were all in union. I think we paid something like $7 to join; it was ridiculous. But then we started rehearsing at the union. One fantastic thing that happened was that all the bands when they’d come in, like Jimmie Lunceford, would rehearse at the union, so we had a chance to hear them…
TP: So you had a chance to get up close to Jimmy Crawford or Jo Jones…
CH: Oh, man, I’m trying to tell you… And next thing we know, we were doing everything that they were doing, note-for-note, beat-for-beat. We would imitate them. We started playing all the school dances, and we would sound like Jimmie Lunceford, we’d sound like Basie… It was dynamite. Because from that band, the experience I got playing with big bands, and all of us went on to different things and different areas…
I think I was around 16 years old when I got the call to Lionel Hampton’s first band, that “Flying Home” band. Man, I lasted about two or three weeks, because I wasn’t ready. I did get that experience, but I wasn’t quite ready.
TP: What were you lacking, would you say?
CH: Well, my reading was bad. I depended upon my ear at that time, and my sight reading wasn’t… I could play, man. I could swing. I could keep good time. But reading the charts, following the charts down. I couldn’t do it too well. I wasn’t quick enough. They’d waste a lot of time going over different sections just so I could get it. That’s the band where “Flying Home” became a famous thing.
But when I got fired out of that band, that turned my whole life around, my whole career. I really got serious. I’ll never forget the day that they gave me my notice… A friend of mine…well, he wasn’t a friend, but a big-time dude that knew me who was a player, said, “Listen, kid. You’re hurt now, but don’t let it get to you.” It turned my whole life around, man. I really got serious about what I was doing. From there I got drafted, and this is when I started doing my number as far as learning.
TP: In our previous show, you mentioned that in the big bands of the 1930’s, something we can’t hear properly on records is how the drummers shaped the sound of the band, like Jimmy Crawford or Papa Jo Jones or Sonny Greer.
CH: Exactly.
TP: Now, when you were in the Al Adams band, emulating the sounds of those bands, were you emulating the styles of those different drummers.
CH: Yes.
TP: So you had reached that level of proficiency.
CH: Yeah. I could play, man, and I could always keep good time. I had some funny kind of ideas as far as my solo ideas were concerned. I wasn’t a straight up-and-down kind of a player. I have never been interested in being fast, have chops like the Buddy Rich kind of thing. There’s nothing wrong with that particular style of drummer, but I’ve never been interested in it. I’m into sound. I’m into making sounds or creating sounds or inventing sounds, then taking the sounds and creating a mood. The supply and then the demand, that type of thing. But at the time, I could play just like Jimmy Crawford if we were playing a Lunceford type of tune. If we were playing a Basie type of tune, I was Jo Jones. It was groovy. It was cool.
It didn’t get confusing, man, until I came out of the Army. The first dude I heard… Man, I was in Oakland, California, playing a show, in which one of the acts was the Will Mastin Trio featuring Sammy Davis, Jr. We were doing 7 and 8 shows a day, that type of thing. Then we heard Billy Eckstine was going to play a dance that night, a Friday night in Oakland. Needless to say we couldn’t wait to get off after of the last show…
TP: This was with a band called Floyd Ray. A young Art Farmer was in it, Hampton Hawes…
CH: Yeah, Art, Hamp. I’ll tell you something funny as hell that happened when we were up there. I was taking a solo, my big moment, and Mingus came out with a hammer and started hammering on the bandstand while I was playing! [LAUGHS] I got so teed off at him, man…
Anyway, to make a long story short: We heard Eckstine’s band that night. That’s when he had Gene Ammons and Dexter Gordon, “Blowing The Blues Away”, and Art Blakey was on drums. Man, I had never heard anybody play like this before in my whole entire life! I was just flabbergasted! Art Blakey turned me completely around. I had never heard anybody play the Bebop style of drumming.
TP: How would you describe that in relation to what Jo Jones and Sonny Greer were doing in terms of your perceptions at the time?
CH: For instance, Swing, you keep a steady beat going on the sock cymbal, which is the side cymbal, or even the top cymbal — DING, DI-DI-DING, DI-DI-DING. You keep that going. DING, DI-DI-DING, DI-DI-DING, and every once in a while you might do something with your left hand. But in playing Bop the way Art Blakey played, he kept something going, DING, DI-DI-DING, but meantime, man, he’d dance between his left hand and his right foot. DE-DUM, DE-DUM, DE-DUM, BOP!! CHITTI-TI-TI-BUM, CHITTI-TI-TI-BUM. Just dancing all the way through, keeping time, and the band was hitting… It worked! I’d never had no idea of this style of playing. I was just flabbergasted.
So the next morning, back at the theater, first show, I’m playing for Sammy Davis and his uncle and his father, and we’re playing, keeping time, then all of a sudden, I decided I was going to drop one of these bombs — BOP, BOOM!! I did that, man, and Sammy’s father, his uncle, they stopped, turned around, and said, “What are you doing?!”
TP: You didn’t do that any more, huh?
CH: Oh, Ted, it was unbelievable. After the show, he came up to me and said, “Listen, son, you’re our favorite drummer. Don’t do that!” [LAUGHS] I’m just reminiscing. It was funny as hell. But I’m saying this is the first time I’d been turned around.
TP: When you heard Art Blakey, had you been to hear Charlie Parker and Dizzy Gillespie at Billy Berg’s club?
CH: I had just come out of the Army.
TP: And you went right out on that job?
CH: I went right out.
TP: Did you get to see that band during that particular engagement in December ’45 and January ’46.
CH: No, I didn’t. But I played with Bird. After that, during ’45 and ’46, everybody was out on the West Coast. And I used to jam with Bird all the time. There was a place on Central Avenue, the Downbeat, Billy Berg’s…
TP: There was a place called Jack’s Nest.
CH: Jack’s Nest.
TP: And the Finale Club in Japan-Town where Howard McGhee had a band.
CH: Yeah. Maggie was…all the guys. It was just a happening. Roy Porter and Chuck Thompson were the popular drummers around that time in L.A. when I got out. Roy was a Bebop drummer moreso than Chuck Thompson was. That’s when Wardell Gray and all those guys… It was a happening.
TP: There’s a recording from 1946 of you backing Lester Young. What was it like as you for a drummer to play behind Charlie Parker, purely on the rhythmic level? That must have really developed your conception of the instrument.
CH: Charlie was really nice to me. Well, he was nice to everybody, man. He was a brilliant man, a brilliant human being. Not only did he encourage you to play, but he gave everybody a shot, the rhythm people at least, to keep some time for him, just to play, to make a gig. All I know is hey, man, he was a helluva saxophone player. It was entirely different from me playing with Prez or playing with guys who swung in regards to this new style of playing.
Howard McGhee helped me quite a bit with getting into Bebop playing and understanding what the concept was all about, and the phrasing. That was most important thing, how you phrased, in playing this particular style of music, leaving space in the rhythm so you can fill up the holes. As a matter of fact, I don’t know anybody right now who can explain that. I can’t. [LAUGHS] It’s a style of playing that the concept came about by Diz, Bird, Monk, people like that. Strangely and oddly enough, when they left the West Coast, that particular style went East. It didn’t linger on the West Coast. Shorty Rogers and all those guys, people like that, they come out of the Kenton area, and Stan Kenton’s band was a Swing band… I don’t know, it just left. Years later when I came back and started my own thing, the quintet with the cello, flute and guitar, we were the furthest thing in the world from playing Bebop, that particular style.
[MUSIC: Prez-CH, “New Lester Leaps In” (1946); C. Hamilton Trio (Duvivier-Roberts) “Street of Drums”, “Nuttye” (1955); CH-5, “The Morning After” (1956); w/ Billie Holiday, “Too Marvelous For Words” (1956); CH-5, “Gone Lover” (1956)]
CH: This was the first time in the history of recordings that a drum and a guitar and a bass had been recorded as solo instruments alone, as the featured instruments, as opposed to being in a rhythm section. Up until that time, the rhythm section, which consisted of piano, guitar, bass, drums, was always just a section — it was never featured. The fact that we did this… Dick Bock promised to record me because of the Gerry Mulligan Quartet things. Part of the deal was that each one of us would have an album. Doing this, it was really something, because nowhere before in this particular form of music, known aa Jazz, had you heard anything like this. Guitar, bass and drums was very common in Country music and things like that, but not presented as Jazz, solo instruments.
TP: What were some of the inspirations for the idea? You mentioned playing in a lot of different situations as a professional drummer, including Chet Atkins, and you undoubtedly heard the Nat Cole Trio and others that used guitar and bass.
CH: I played with Nat Cole also. As a matter of fact, Nat played for my wedding. I can’t BS your listeners and say I had an inspiration. It just happened. The fact is, I had an opportunity to make an album, and I just thought of something to be different. Because the previous albums I’d done with the original Gerry Mulligan Quartet became unbelievably big as far as record buyers and record listeners were concerned, a different concept having a trumpet, baritone saxophone, bass and drums. So I just more or less fell into the same pattern just by having… I was very fortunate, because George Duvivier and myself at that time were working with Lena Horne, and I knew Howard Roberts and liked the way he played, so when the opportunity arose we just did it, and it came off. It came off beautifully, I thought. When you stop to consider the fact that this is 1996, it still holds up today as contemporary as far as the sound and feeling are concerned.
TP: We’ll step back and ask Chico for word portraits of some of the musicians he was associated with and friends with at different points of his career. I’d like to ask you about Lester Young’s manner as a bandleader, and the kind of relations you had with him.
CH: Let me tell you something about Prez. Prez was one of the most sensitive human beings I have ever met or heard of. He was a very sensitive man. And he was total, total music, man. Prez, Eric Dolphy, people like that… He was totally music. Prez had a tremendous sense of humor for one thing. Half the time I don’t know whether he was putting me on or putting everybody on or what. But he was cool. He was very cool. Also he was very proper.
TP: Well-mannered, you mean?
CH: Well-mannered in regards to being respectful. Prez was cool, man.
TP: Did he have a nickname for you?
CH: [LAUGHS] Yeah, he had one for me… Yeah, he was cool. In fact, Prez introduced me to Roy Haynes, and Roy and I became friends after that. But Prez would call everybody “Miss.” Miss Hamilton, Miss so-and-so; everybody was “Miss” as far as Prez was concerned. As a matter of fact, the original word “smothertucker” came from Prez, heh-heh.
TP: He had a house as well in Los Angeles where a number of people would stay?
CH: Yes.
TP: Any memories of that house? I gather it was a congregating spot.
CH: No, no… I recall when I first met Prez, it was one of those days I played hooky from school, and we were all meeting over at Lorenzo Fluornoy’s house, because he was having a session. We used to put the pots on. In other words, Lorenzo would cook a great big pot of beans or something like that, and all the musicians in L.A. used to come by his pad. This particular day I came by there, and the screen door was open, and I looked in and I saw Prez, and I saw this lady that was sitting on Prez’ saxophone case who was Lady! I told (?), “Hey, man, that’s Lady!” Sure enough, when I got into the house, he said, “Miss Hamilton, Miss Day.” That’s when I first met Lady. She was something else, man; she was really something else, too.
TP: You mentioned Mingus on the tour up and down the West Coast with Floyd Ray, coming out and banging on the bandstand during one of your solos. You went way back with him.
CH: Oh, man, we were almost kids together type of thing.
TP: You grew up near each other.
CH: Well, no. I was in L.A. He was in what they called Central Gardens, which was between L.A. and Watts. But my wife and Charlie and Buddy Collette, all went to Sunday School, all went to the same church.
TP: Do you remember which church?
CH: No. I didn’t make it! [LAUGHS] Oh, man, I guess we go back to 12 or 13 years, back when we were youngsters. People say Charles used to do crazy things, but hey, he was always like that. He was always a mischievous kid, that kind of thing. We got along beautifully. As a matter of fact, I had the pleasure of spending some time with him before he passed away…
TP: You and Mingus and Buddy Collette all knew each other, then, from back when.
CH: Right. Buddy had a great influence upon Charlie. As a matter of fact, Buddy was Charlie’s mentor. Even up until the time he had got out of Dodge, man, he would always call Buddy. Every time he had a problem or would run into something, Buddy was his mentor… As a matter of fact, Charlie was playing cello before he played bass, and Buddy talked him into playing bass as opposed to playing a cello. These guys out in South Los Angeles, they had a band, and we used to jam, and all of a sudden when the main hit came… We all auditioned for one job at the Orpheum Theater, I think it was, to play this show. Buddy had his band there, and we had our band (the Al Adams Band), and we got the job. But we needed Buddy and we needed people like that. [LAUGHS] So that’s how we all became one band. Man, they had a helluva show. The comedian was Mantan Marlan, and I forget who the big star singer…Ninah Mae McKinney… These were superstars at the time, and we were the pit band. That’s how we ended up being one very good band.
TP: In thinking of the types of influences that made the music of the Chico Hamilton Trios and Quintets have a distinctive sound, a lot of the music sounds narrative, like there’s a very specific image in mind, and it would seem influenced in many ways by your exposure to show music and those type of arrangements, film music and things like this.
CH: I’ll tell you. The years that I spent as Lena Horne’s accompanist, I was influenced very heavily by Lennie Hayten, her husband. Between Lennie Hayten and Luther Henderson, my concept as far presentation began to happen, to make things dramatic, make things un-dramatic, whatever…to start creating moods. I guess the real me started to happen. I’ve always been a different kind of player. It was totally impossible for me to try to play like Max Roach, you know, or Art Blakey or Gene Krupa, Jo Jones…
TP: That was part of the ethos of the time anyway, was for players to develop an individual sound.
CH: You took a little bit from him, you took a little bit from him, and a little bit from him, and put it all together, and all of a sudden it became you. That’s what it amounts to.
TP: By the way, on the liner notes to one of these old LPs, which are an invaluable source of information, you mentioned briefly playing with Jimmy Blanton while the Ellington band was in Los Angeles in 1941, I guess.
CH: I sure did. As a matter of fact, I had gone to the movies with my wife, who was my girlfriend at the time, and we had just come home from the movie, and it was about 5 in the afternoon, and when I walked up to the porch door, her mother came out and said, “Forrest, Mr. Ellington… They’ve been calling you all day!” And I said, “Who…?” — that kind of thing. Sitting in the car was Herb Jeffries, and he said, “Man, we’ve been waiting on you. Duke wants you to play.” Sonny became ill, and they were playing the Casa Mañana out in Culver City. Here again, man, I was about 19 years old, something like that. And man, I went out there… We came in through the backstage (because you came in through the back), and the band is playing, and the band was swinging, so man, I just knew they had a drummer up there. My heart stopped. I was sort of disappointed, because I really was looking forward to it. It turned out the band was just hitting, playing its keister off! I went up there and climbed up, way up on the pyramid type of thing…
TP: Well, with Jimmy Blanton, sometimes you might not need a drummer…
CH: Well, at that time, the band set-up was… Sonny Greer was on the top of the band. The band like a pyramid; it came down in pyramids. And way down by Duke, by the keyboard, was Jimmy Blanton. So they were playing, oh, something like “Don’t Get Around Much” or one of those tunes, and man, I just sat down and started playing and started sweeping, and next thing I know, Jimmy Blanton turned around and looked up [LAUGHS], and he says, “Wow!” Anyway, I stayed on there for a couple of weeks.
TP: Did you get drafted shortly after that?
CH: A little later, after I got married. I was about 21 years old. But one thing about young players at that time, we had all the records. Every time a record would come out, man, I had the record, and we would listen to the band. I knew everything everybody did in the band with the solos. I could hum or whistle the solos just note-for-note almost. So this made it really easy in a sense, because I depended upon my ear to play with those bands, to keep the time, because I knew the arrangements. It wasn’t a question of me reading music, because number-one, man, neither Duke nor Basie, when I joined the bands…there wasn’t one stitch of drum music. You either knew the charts, or that was it. So this is how I got around that.
TP: I think one thing about a lot of the drummers of that period, Art Blakey being a great example, is that he could take a piece of music, and then just know it and transform into his thing.
CH: Well, you develop that. That’s something you develop. For instance, the average arranger, he’d write something for the brass section, the reed section or whatever, and write something for the keyboard and bass, would then say to the drummer, “Hey, you know what to do; you’ve got it.” Because it was totally impossible for an arranger to write a drum chart, to make it swing. If it’s a march type of thing, that’s something else. That’s something different. But to write a Jazz chart and make it swing, you don’t need a drum part. You give the drummer the first trumpet part. Because that’s where he’ll make the hits. He’ll play the same kind of figures that the trumpet players would play, more or less.
TP: Dexter Gordon is another of your contemporaries from teenage years. And you mentioned on first hearing the Billy Eckstine Orchestra, it was Jug and Dexter.
CH: That’s right.
TP: I think in a previous interview you described Dexter as being a kind of pied piper as a youngster, who had his horn out all the time.
CH: We used to call him Big Stoop. [LAUGHS] Dexter. Dexter started off playing clarinet, and he constantly had his clarinet in his mouth, all over. That was it. He was just clarinet, clarinet, this type of thing. Man, no one really made the progress that Dexter did. By the time he left L.A., man, automatically he became a giant. He became something else, and he gained the respect of all the pros, all the heavyweight players — Coleman Hawkins, Ben Webster, Prez, people like that. Prez was the master. They all tried to simulate… As a matter of fact, we even tried to walk like Prez, talk like Prez, even the porkpie hat…
TP: Hold the horn sideways.
CH: What a lot of people don’t know is Prez held the horn that way because he had a problem. Most people thought he was doing that for show, but he wasn’t. He did that in order keep the pressure off his gums.
TP: That’s why he didn’t put the mouthpiece all the way in his mouth.
CH: Right. And that’s one of the reasons for the sound he got, which was a beautiful sound. That was the bottom line to it. It wasn’t a question of him doing that just for show. That was the only way he could play his horn.
We came up beautifully, let’s put it like that. As young as we were, we were all total music, too.
TP: It seems like those musical values were instilled in you right from the beginning of playing music. If you were going to go out and play in the community, you had to have certain things right.
CH: Exactly. Even today, man, you never… Music, first of all, deserves to be played well at all times, regardless of whether it’s two people in the place, or if you’re playing in the men’s room or the lady’s room. Music deserves to be played well. I grew up with this understanding. I believe that music is one of God’s will, and God’s will will be done. That’s what keeps it going forever and forever and forever.
TP: Back to Lester Young, let’s go back to Fort McCullough, Alabama, and your recollections of that experience.
CH: Man, that was a bad time period. It’s part of my past that I don’t want to… It was devastating. It was very devastating for the simple reason that I’m in the Service, I’m not in the band, but I’m attached to the band. I’m a drummer, and in my company they made me the company clerk and made me a bugler. The Drum Corps master knew that I was a drummer, but he made me play bugles, just to show you what was going on. And when Prez… Now, they attached me to the band, so I wasn’t in the band, but whenever a show came through there, I had to play the show, because they had three drummers in the band and none of them could play the show. So when Prez and Jo came through there, man, they had guys in this band that couldn’t even hold their instruments. I mean this. And these people wouldn’t let Jo Jones and Lester Young in that band. It was disgraceful. It was unbelievable. I still can’t get over it. But it’s part of my past. It’s just like a lot of other things that happened down there. [LAUGHS] I don’t want to talk about that.
TP: It sounds like the most positive thing that happened there was meeting Billy Exiner and learning how to read music.
CH: That was the most positive thing that happened to me, along with meeting some guys who became my lifelong friends. Jimmy Cheatham, for instance, was one of the guys who was in the band. But other than that… Hey, that was then. This is now.
TP: Right. And in our radio chronology, we’re around 1958 in Chico’s music. The track we’ll hear features a pianist whose name is unknown to me…
CH: Freddie Gambrell.
TP: He, bassist Ben Tucker and Chico form the trio.
CH: Listen, I met this kid in San Francisco. He’s blind, and he could play his keister off, as you will hear. This is very rare for the simple reason I haven’t recorded with piano players that much — period. I played with Art Tatum and Nat Cole, and I did a lot of things with Nat, but it was different, a big thing where he was singing…
TP: Studio productions. But with Art Tatum you played as part of the trio?
CH: Yes.
TP: Talk a little bit about playing behind Art Tatum? Was keeping all you had to do, or did you embellish? What did Art Tatum want from a drummer?
CH: Well, you’d just try to realize where he was going all the time. It was dynamite, it was cool. It was easy playing with Art, in a sense, because all you had to do was swing, keep good time, and that was it. It was just an accompanying kind of thing; that was it.
TP: You just worked with him in Los Angeles?
CH: Just in L.A. I think we played maybe the 333… Just joints all over L.A. Clubs, that is.
[MUSIC: CH w/ F. Gambrell, Ben Tucker, “Lullaby Of The Leaves” (1957); Tony Bennett, “Lazy Afternoon”; CH-5 w/ B. Collette (ts), P. Horn (as), “Take The A-Train” (1958); CH-5, Dolphy-Katz, “Something To Live For” (1958)]
CH: Beat Of My Heart with Tony Bennett was a dynamite record. Tony and I talked about that during when I was playing for Tony, keeping time for him, the combination of keeping time and playing with my own group… Matter of fact, I was in Philly, at the Showboat when they decided to do it, and I had to come up to New York. It came off beautifully. Jo Jones is on there as well. It was really something. Now, Tony has always had a good sense of time. His phrasing is really very unique. Besides, I like him. We’re friends. We’ve been friends a long time.
TP: The first track featured pianist Freddie Gambrell, who seems not to have been heard much from since. That really orchestral piano style. He’d obviously listened some to Ahmad Jamal at that time…
CH: I don’t even know if he’d heard of Ahmad Jamal then, because I don’t think Ahmad Jamal was known on the West Coast during that period. This was just a young kid, man. He was blind, but he could play his keister off. Fantastic pianist. Matter of fact, every time I would be in Frisco, there was an after-hour joint where we used to hang out called Slim’s, and we’d go in there and jam all night long. The night I came in and heard him, he was sounding so good, I wanted to play with him. So we sat up and played, and I think we played until 9 or 10 o’clock the next day, he and I and I don’t recall who was playing bass at the time. But here Dick Bock had given me an opportunity to record again, and I told him about this kid, and it all came about.
TP: A couple of points you raised. In talking about singers, you didn’t say “playing drums for”, but “keeping time for.” Tony Bennett, Lena Horne, Billy Eckstine for a minute, Billie Holiday, Nat Cole. What’s the difference between playing for a singer within an instrumental situation? Why is it different?
CH: Well, number one, you never know what a singer is going to do.
TP: Does that mean that a singer who is a skilled improviser will treat the music differently, or something less complimentary than that?
CH: Well, all respects to singers, because I learned how to play by playing for singers. It calls upon… You have to have a magic wand and you have to be able to look into the future playing for singers. Because singers are subject to do things on the spur of the moment. It all depends on what their mood is all about. If they get an idea in the middle of a phrase, if they decide they don’t want to phrase that way, it will just change automatically, as opposed to a horn player who is more or less restricted because there is just so much he can do. In other words, there are only so many keys on the instrument, and he’s only got ten fingers on the horn — or three if it’s a trumpet. Singers, first of all, have the perfect instrument, which is the human voice, and they do with what and do what with. And to keep time for them… A lot of singers don’t know how to keep time. They just sing the way that they feel, as if they were singing in the bathroom or in the shower. So in order to make it cohesive as a drummer, you have to keep the thing going so that the other players, if it’s a piano and bass accompanying the singer, make some sense out of it, so it gives them some idea of where they are at all times. Because a lot of times, a lot of singers don’t sing in tune. They have no idea that they’re not in tune, as well as singing the melody or whatever the composition is or whatever the song is.
Overall, in playing for singers, you learn how to anticipate in regards to what they’re going to do and when they’re going to do it. I played for Lena Horne for eight years, and I only saw her once from the front, and that was when we were in Madison Square Garden. All the rest of the time, the only thing I saw of her, man, was her keister. I was right behind her. I developed a system of watching her neck, and I could tell when she was going to reach for a note or something like that. Playing for Lena was something else, because you never knew what Lena might decide…you never knew what tempo she was going to do something in. She could sing, man. I have a tremendous amount of respect for her as a vocalist and for her musicianship… We’re all musicians. You don’t have to be a player to be a musician. In other words, I can’t tell you how to listen. So everybody’s a musician as far as I’m concerned.
TP: Tell me about your brief time with Billy Eckstine. Or how brief was it?
CH: With B? I did several shows with B. That had to be in the late ’40s and then the beginning of the ’50s. Well, number one, B was a trombone player, a musician, and Mr. Class. He was cool! He was one of my favorite singers, him and Johnny Hartman. B contributed a lot, man, to the contemporary style of not only singing, but phrasing and songs, good songs. B sang good songs. Everything he sang became a hit, was automatically a hit… Let’s put it this way. Everything he recorded became big.
TP: Well, he was a style-setter. Like you related the way people would wear Lester Young’s porkpie hat, everyone would try to dress like Billy Eckstine.
CH: That’s right.
TP: He had a much greater impact than people realize on the generation of people who came up after World War Two.
CH: Well, just like Sinatra influenced a lot of people, Eckstine influenced a lot of people. He was very hip.
TP: What was his manner like with the musicians? He was always supposed to be totally at one with…
CH: Oh, man, he was a sideman as far as he was concerned! He was always one of the guys, one of the dudes. B was cool. I mean that in a complimentary sense.
TP: I can’t remember if I asked you about playing with Lady Day or not.
CH: Lady? Playing with Lady was dynamite.
TP: Now, she was unpredictable, but I’ll bet there was never any question about…
CH: No, she wasn’t unpredictable as far as keeping time was concerned. Lady swung. Her and Ella were good swingers. They swung. Their phrasing was different.
TP: Would she treat material differently from one performance to the next?
CH: Not so much as Lena would. Lena would treat material different. Plus, a majority of Lena’s book, her library, her repertoire was very heavily arranged. It was really a challenge, because it was very well arranged, and we always worked with 12-to-15 piece orchestras accompanying her, whereas with Lady it was Bobby Tucker and a bass player and myself sometimes, which was cool, which really kept a free, flowing kind of thing going. With Ella it would be the same thing, small groups.
TP: So the singer would be more like a horn really in a situation like that.
CH: Well, they were. Matter of fact, one of the hippest times I can recall playing with Lady, Wardell Gray was on tenor, Hampton Hawes was on piano, Curtis Counce was on bass, and I was on drums. And man, we swung a hole in her head! I’ll tell you, we had a ball. It was a happening.
TP: So by the mid-’50s, Chico, you were working behind a lot of singers, pretty steady work…
CH: That’s the name of the game, man, steady work. Go ahead.
TP: I understand. And you came up during the Depression, when you had to have a job. That was the first order of business. But I’d like to talk about the development of the Chico Hamilton group in its various configurations. Of course you’d known Buddy Collette for a good twenty years by this time.
CH: Yes.
TP: Fred Katz.
CH: Fred worked with us with Lena Horne. Lena was doing a production number called “Frankie and Johnny”, and wherever we went we had to have a string section. We were here in New York, as a matter of fact, at the Copacabana, and it was during the “Frankie and Johnny” period, which was a huge production number, with singers and things like that. Fred Katz was the cellist in that group. We became friendly, playing together every night and that kind of thing. At that time I had no idea that Fred was a pianist as well. So to make a long story short, when I left Lena I went back to California — my mother was ill. Just playing around town, I became very disappointed in some of my old cronies who I used to play with. I didn’t feel as though they had progressed any. They were still playing the same old kind of way and the same old kind of things. I got bored.
I realized that the only way for me to play and keep it halfway interesting, I had to get my own thing started — and so I did. Originally I was going to use the French horn. There was a French horn player by the name of John Graas. I had met Jim Hall, and I knew Carson from the Gerry Mulligan days. Of course, I knew Buddy from growing up; I needed a triple-threat man to play alto, clarinet, tenor, flute. So the first rehearsal we had, unfortunately, John Graas had a heart attack, so that was the end of that. Out of left field I get a call from Fred Katz who said he was playing for a singer named Jana Mason, and would I help them out; they needed somebody to make a couple of things with them out at one of those Hollywood places. So I said, “yeah,” and I went on out, and I played two nights with them. One thing led on to another, Fred wanted to know what I was doing, and I told him about my group and about John passing. He said, “What if I come up to the rehearsal and bring my cello.” I said, “Yeah!” So he came over, made the rehearsal… It happened to be five guys in the right place at the right time. That’s the bottom
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https://www.latimes.com/archives/la-xpm-1993-06-04-ca-43285-story.html
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Katz and Collette: a Blast From Past : Jazz: The two, who were part of Chico Hamilton’s legendary quintet of the mid-’50s, will reunite tonight in Newport Beach.
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"BILL KOHLHAASE"
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1993-06-04T00:00:00
|
As a member of drummer Chico Hamilton's groundbreaking chamber-jazz quintet of the mid-1950s, Fred Katz set the music world on its ear by bringing his cello into the front line of Hamilton's ensemble.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-1993-06-04-ca-43285-story.html
|
As a member of drummer Chico Hamilton’s groundbreaking chamber-jazz quintet of the mid-1950s, Fred Katz set the music world on its ear by bringing his cello into the front line of Hamilton’s ensemble.
Strangely enough, the two men might never have gotten together if it hadn’t been for Lena Horne.
“I got started in the jazz world with Chico because of an eight-bar cello solo in an arrangement of ‘Frankie and Johnnie’ that Lena Horne sang,” Katz recalled recently in his home here.
“I’d been hired to play behind her in the orchestra, and the arrangement of ‘Frankie and Johnnie’ she did had a solo spot for the cello. At the end of two or three weeks, Lena came by and said, ‘I love the way you play that solo,’ ” he said.
“Later, I played a little jazz piano for her at one of the cast parties, and a few weeks after I get a call: ‘Would you care to be Lena Horne’s musical director?’ And Chico Hamilton was the drummer in her trio.”
When Hamilton started in his own group in 1955, he called on Katz. “Originally he wanted to do it with a French horn player,” Katz explained. “And I said, ‘What about the possibility of playing with a cello?’ ”
The result was one of the most famous quintets in jazz.
Katz, Hamilton, saxophonist Buddy Collette, guitarist Jim Hall and bassist Carson Smith developed a clean, sophisticated sound replete with classical touches that caught on with audiences around the world.
Katz will be reunited with his longtime friend and colleague Collette tonight at the Hyatt Newporter in Newport Beach when he appears with the saxophonist’s quartet.
(Also joining Collette’s ensemble tonight is trombonist Britt Woodman. Woodman, who’s probably best known for replacing Lawrence Brown in Duke Ellington’s Orchestra during the early ‘50s, grew up with Collette and another native Californian, Charles Mingus. Now living in New York and a member of Wynton Marsalis’ Lincoln Center Jazz Orchestra, Woodman also worked with Lionel Hampton, and recorded a number of dates with bassist Mingus. Rounding out the group appearing at the Hyatt Newporter is guitarist Al Viola, bassist Richard Simon and drummer Harvey Mason.)
Katz’s cello wasn’t immediately part of Hamilton’s band.
“We opened up in a real dive in Long Beach called Strollers,” he said, “with hookers coming in and all that. I played piano on a lot of the jazz tunes, playing the cello on ballads.”
“In between sets,” added Collette, in a recent phone conversation from his Los Angeles home, “Fred would get up and play a classical sonata or something by himself, for contrast.
“And a lot of times he’d play too long and we’d have to get up on the bandstand, which was very small, and by the time he’d open his eyes and look up, there we’d be. Chico would start playing and Fred was trapped up there in front of the band; he couldn’t get back to the piano. So he’d start playing his piano parts on cello. And that’s the first time we knew it would work,” Collette said.
Katz remembers it well. “I’d just get up there and fool around between sets. And then the guys would join in, and that started the free-form improvisation which we became quite famous for. I finally gave up the piano all together.”
“The magic of the thing,” said Collette, “was the contrast in personalties between Fred and Jim Hall. Fred is very aggressive and Jim is way laid back. Jim would just kind of wait for his spot, he didn’t want to clash, while Fred would be playing chords on everything. Then Jim would play these beautiful solos with Fred comping.”
What was supposed to be a two-week engagement at Strollers turned into six months. Legendary disc jockey Sleepy Stein, from L.A. jazz station KFOX, caught wind of the group and was soon broadcasting live from the club.
Their reputation was set after a triumphant appearance at the Newport Jazz Festival, and the group appeared in the 1958 film “Jazz On A Summer’s Day.” In 1989, the group reformed for a recording and a reunion tour of Europe.
But Katz’s time with Hamilton is but one part of his many-faceted career. A stroll through his converted-garage studio gives glimpses into his history and interests.
The walls are decorated with photos of the cellist in action, as well as album covers that document his career as composer. A chess board sits at the ready, and here and there are examples of primitive art gathered during his days as an anthropology instructor.
A copy of the sheet music to “Satan (Wears A Satin Gown)” written by Katz and Jack Wilson, is signed by Frankie Laine. On another wall is a map of the universe where constellations circle the North Star. Piles of staff paper await the composer.
In fact, composing, mostly in the classical style, is now the centerpiece of Katz’s activity.
His “Concerto for Cello and Jazz Wind Orchestra,” performed by George Neikrug, has recently been released by Evergreen Music. He’s currently working on a jazz opera (“It may turn out to be two or three pieces,” he added), another large piece inspired by Jewish mysticism and a commission based on the writings of Chief Seattle.
“What I’m going for now is music that has some kind of substance, that relates to an environmental or philosophical idea,” he said. “But sometimes I’ll just sit down at the piano and a nice melody will hit the fingers.”
Later, Katz plays from one of Bach’s suites for solo cello as a photographer snaps his picture. Surely, this is what is meant by a “Renaissance man.”
Katz, born in Brooklyn in 1919, began playing cello at age 12. At 15, he played the Saint-Saens cello concerto at New York’s Town Hall. An accomplished pianist, he spent time accompanying such singers as Horne, Laine, Tony Bennett and Vic Damone.
After leaving Hamilton’s band, Katz began writing film scores for art and offbeat films, including Roger Corman’s “The Wasp Woman” and Corman’s 1960 film “Little Shop Of Horrors” (which included a young Jack Nicholson). Though he was doing well in Hollywood, it wasn’t enough.
“I always felt this need to be involved with people, involved with the so-called high arts,” the self-declared “old-style” radical said. “So I began taking the cello down to Venice where the poets used to gather and play behind them. That was part of the culture in the late-’50s, early-’60s: poetry and jazz music.”
At a reading in the home of beat-chronicler Lawrence Lipton (author of “The Holy Barbarians”), Katz met anthropologist Ted Carpenter, who was forming the anthropology department for Valley College (now Cal State Northridge). He asked the cellist to join him. His idea was to pair an academician with an artist.
“Suddenly, I was plunged into the academic world,” he said.
Katz, who had no degree, first taught about jazz and primitive music, which had been a special interest of his. “Then I began to teach aesthetics, and finally anthropology. I had to study very, very hard.” Katz retired from teaching nine years ago, at which time he was a professor in anthropology at Cal State Fullerton.
But Katz, whose interests also include Jewish mysticism, medieval literature and magic tricks, is not one to keep the various facets of his life separate.
His anthropology studies have led to music, as witnessed by his tune, “The Walker,” inspired by the mythology of the Brazilian rain-forest peoples. Collette’s ensemble will perform the piece tonight.
“They have a belief that a mysterious figure came out of the forest and walked the land. And everywhere he walked, he left culture and societal relationships. He might be considered the messiah of the Brazilian jungle, the redeemer,” he said.
“I loved the idea of this mysterious figure walking the jungle and had to write something about it,” he said. “And, of course, walking in jazz--when the bass player works single notes--made it all come together perfectly.”
|
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877
|
dbpedia
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https://musicboard.app/artist/139254593/releases
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null discography
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Musicboard is the social network for music-lovers. Keep track of all the music you listen to and grow your passion for music with friends. Write reviews, rate albums, compile lists, and more.
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dbpedia
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1
| 52
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https://somethingelsereviews.com/2014/03/11/chico-hamilton-and-euphoria-the-inquiring-mind-2014/
|
en
|
Chico Hamilton and Euphoria
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2014-03-11T00:00:00
|
Chico Hamilton rose to individual fame in the 1950s with an Eric Dolphy-fired chamber jazz unit, but there was always something angular, something interesting and offbeat happening — even dating back to 1959’s That Hamilton Man, an album dominated by this quiet melancholy. Later, Hamilton’s ever more appealingly abstract styleRead More
|
en
|
Something Else!
|
https://somethingelsereviews.com/2014/03/11/chico-hamilton-and-euphoria-the-inquiring-mind-2014/
|
Chico Hamilton rose to individual fame in the 1950s with an Eric Dolphy-fired chamber jazz unit, but there was always something angular, something interesting and offbeat happening — even dating back to 1959’s That Hamilton Man, an album dominated by this quiet melancholy.
Later, Hamilton’s ever more appealingly abstract style of percussion drove a series of recordings that roved far afield — from the Far Eastern accents on 1989’s Reunion to his first sessions with the aptly named Euphoria in the early 1990s. He never stopped pushing, never stopped exploring new angles, never stopped period. Then, as now on the posthumously released Inquiring Minds, Hamilton operates with a guitarist in place of the traditional keyboardist, thus opening up still more space for improvisational brilliance.
“I always had just the guitar, starting with Howard Roberts, myself and George Duvivier (as part of his mid-1950s trio),” Hamilton told me, in 2011. “Back then, with all the piano players I knew, I didn’t like the way they played. I’ve always found the guitar to be a more melodic instrument. And I like the way it fit in with my instrument. Like most percussionists, I never thought about my instrument being just a drum. I wanted to do more with it, you know?”
Same here. Together with a retooled modern-day edition of Euphoria, Hamilton shows himself to a wonder of ageless, idiomatic propulsion, but at the same the master of taste. Even at 92, he could erupt into a brim-stoned fury, but yet he returns, time and again, to a discreet sense of texture and style. The names have changed over the years — saxist Eric Person and bassist Reggie Washington (from Euphoria’s 1990 debut Arroyo) are succeeded here by Evan Schwam and Paul Ramsey, respectively — but not the steady presence of the now-sorely missed Hamilton.
You get the sense of Hamilton’s ceaseless enthusiasm for life on the samba “Joy of Spring,” and — after a switch to mallets — his awareness that time was shortening on “Tone Poem.” And yet, there is no give in Hamilton, no slide into depressive rumination. He welcomes back George Bohanon, a trombonist with the early 1960s-era Hamilton Quintet featuring Gabor Szabo and Charles Lloyd, but make no mistake: The aptly named Inquiring Mind is looking ever ahead, never behind. “Gateway to the Inquiring Mind,” featuring a spoken-word meditation from Hamilton, underscores his free-flowing curiosity.
“An original sound is what I am still trying to express with this group — and all of my groups,” Hamilton added, just before Euphoria’s most recent release, Revelation. “Man, all you have going for you is your own sound.”
That he could pull so much out of a group of relative unknowns, so late in life, speaks to that unfailing focus, and to his ability to inspire. Drummer Jeremy Carlstedt, flautist Mayu Saeki and guitarist Nick Demopolous match Hamilton stride for stride on The Inquiring Mind, likely because the ever-focused Hamilton — whatever his advanced age — would have it no other way.
[amazon_enhanced asin=”B00IJQE8AU” container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /] [amazon_enhanced asin=”B001CV191K” container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /] [amazon_enhanced asin=”B005LPIZ38″ container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /] [amazon_enhanced asin=”B000B2WJVK” container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /] [amazon_enhanced asin=”B00I9O1XNC” container=”” container_class=”” price=”All” background_color=”FFFFFF” link_color=”000000″ text_color=”0000FF” /]
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/
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All Things West Coast Jazz And The Surrounding Scene*
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Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers...
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/images/apple-touch-icon.png?v=2017a
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Steve Hoffman Music Forums
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https://forums.stevehoffman.tv/threads/all-things-west-coast-jazz-and-the-surrounding-scene.830865/
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Richard Bock, the owner of the former label "Pacific Jazz Records", later renamed to "World Pacific Records", had started a series of samplers promoting the music of his own label "Pacific Jazz Records".
These vinyl LP's were issue in a series as mentioned in the header with the prefix on the Cat # "JWC".
It started with JWC-500 up to JWC-514. Most original LP's are oop. Many have been reissued in Japan by King Record Co., Ltd on vinyl and also on CD on diffrent other labels.
I plan to present the complete series here (vinyls only) with cover and content.
Thanks
Volume 1: Title "Jazz West Coast" An Anthology Of California Music - Cat# JWC-500
Content:
- A1 Chet Baker Ensemble "Bockhanal"
- A2 Gerry Mulligan Quartet "Soft Shoe"
- A3 Clifford Brown Ensemble "Tiny Capers"
- A4 Zoot Sims Quartet "I'll Remember April"
- A5 Bud Shank and 3 Trombones "Wailing Vessel"
- A6 Chet Baker Quartet "Happy Little Sunbeam"
- A7 Bill Perkins & Bud Shank "It Had To Be You"
- B1 Bud Shank and Bob Brookmeyer "Low Life"
- B2 Chet Baker Quintert "There Will Never Be Another You"
- B3 Bud Shank and Shorty Rogers "Lotus Bud"
- B4 Gerry Mulligan Quartet "Darn That Dream"
- B5 Laurindo Almeida Quartet "Speak Low"
- B6 Bob Gordon & Jack Montrose "Two Can Play"
- B7 Lee Konitz Plays With The Gerry Mulligan Quartet "Oh Lady be Good"
Volume 6: "Solo Flight" - Cat# JWC-505
Album is missing in my collection
Here is a link from Discogs
A1 –Art Pepper With Leroy Vinnegar And Stan Levey I Can't Give You Anything But Love 4:00
A2 –James Clay With Bobby Timmons, James Bond* And Peter Clay In A Sentimental Mood 3:27
A3 –Lee Konitz With The Gerry Mulligan Quartet* Too Marvelous For Words 3:36
A4 –Bill Perkins With Jimmy Rowles, Ben Tucker And Mel Lewis Angel Eyes 3:37
A5 –Richie Kamuca With Pete Jolly, Leroy Vinnegar And Stan Levey If I Should Lose You 4:18
B1 –Chet Baker With Bobby Timmons, James Bond* And Peter Littman I Can't Get Started 3:06
B2 –Bobby Brookmeyer* With John Williams (14), Red Mitchell And Frank Isola Isn't It Romantic 2:34
B3 –Bud Shank And Russ Freeman With Carson Smith And Shelly Manne It's A New World 4:38
B4 –Phil Urso With Bobby Timmons, James Bond* And Peter Littman It's Only A Paper Moon 4:42
B5 –Harry Edison With Arnold Ross, Joe Comfort And Alvin Stoller September In The Rain 2:53
Volume 7: "Pianists Galore" - Cat# JWC-506 - original issue 1957 - jap. reissue Cast# K18P 9223 in 1983
Content:
- A1 Carl Perkins (p), Jim Hall (g), Red Mitchell (b) "Too Close For Comfort"
- A2 Jimmy Rowles Quartet "We'll Be Together again"
- A3 Russ Freeman Trio "Laugh,Cry"
- A4 Richard Twardzik (p), Carson Smith (b), Peter Littman (dr) "Bess, You Is My Woman"
- A5 Hampton Hawes Trio " I hear Music"
- B1 Jimmy Rowles Trio "Sonny Speaks"
- B2 Bobby Timmons Trio "Autumn In New York"
- B3 John Lewis (p), Pery Heath (b), Chico Hamilton (dr) "I Can't Get Started"
- B4 Pete Jolly Trio "Younger Than Springtime"
- B5 Al Haig Trio "Taking A Chance On Love"
Volume 8: "JAZZ WEST COAST Vol . 3" - Cat# JWC-507 - reissue on jap. CD TOCJ -5618
All recorded in 1957
Content:
1. Gerry Mulligan Sextet "There Will Never Be Another You"
2. Chico Hamilton Quintet "Mr. Smith Goes To Town"
3. Bud Shank Qúartet "Polka Dots And Moon Beams"
4. Art Pepper Quartet "Old Croix"
5. Chet Baker Sextet "Little Girl"
6. Russ Freeman - Chet Baker Quartet "Love Nest"
7. Bud Shank - Bob Cooper Quintet "Sweet Georgia Brown"
8. Jim Hall Trio "Things Ain't What They Used To Be"
9. Phil Urso - Bob Burgess Quintet "Too Marvelous For Words
10. Russ Freeman - Bill Perkins Quintet "Brother Can You Spare A Dime"
Yes I do agree. The West Coast has a lot of smaller labels with first rate music. I do like those professionals playing also in the film studios inbetween.
Zhanks for the reply.
I posted these same photos in a Chet Baker thread a couple of weeks ago but I figure this may also be a suitable place for them.
Here's a Japanese-issued coffee table book signed by William Claxton. My copy also includes autographs of West Coast jazz giants Russ Freeman, Bill Perkins, Bud Shank, Gerry Mulligan, and Jack Montrose. In the 90s, I attended 2 or 3 editions of the West Coast Jazz Festival down in Redondo and/or Hermosa Beach. Anyway, I kept some flyers and programs of the event and will post them here (as soon as I locate them!). I also took lots of photographs (some good, many not so). The nice thing about this event is that there were Q&A forums where you can have interaction with the musicians. I met and/or saw perform the likes of Charlie Haden, Harold Land, Paul Bley, Teddy Edwards, Gerry Mullligan, Maynard Ferguson, Leroy Vinnegar, Lou Levy, Lennie Niehaus, Gerald Wilson, Russ Freeman, Jimmy Giuffre, Herb Geller, Stan Levey, Conte Candoli, Larance Marable, Howard Rumsey, Claude Williamson, and Mr. Dave Brubeck among a few others.
Those were great times. Many of the musicians I mentioned are no longer with us.
Just sharing.
Hi and thanks for the messaga and the photos.
Have that beautifulbook myself but not signed by the author.
Beside jazz records I do collect also cover art books and have a lot of those even very rare Items by Manek Daver and all label books from the swiss company OLMS Verlag. The good thing is you live near the source and I am living in Europe.
BTW from William Claxton I own another great book "The Art Of Jazz Photography - CLAXOGRAPHY" published 1995.
My favorite cover art artist is David Stone Martin.
The heaviest book in my stock dealing with jazz and photography is the heavy coffetable book "Jazz Life" from the TASCHEN company edited by William Claxton and Joachim Ernst Berendt (the late german jazz critic) . If you ever come across this jewel grab it even it is very pricy.
Anyway congrats for beeing on the spot and taking snapshots and sharing your experiences.
I missed that Chet Baker thread but have a couple of records from him. My favorite West Coast big band is Shorty Rogers.
Thanks again.
I am familiar with the books you mentioned. I love 'em cover art books but I only have 5 of them: 2 West Coast/California; one Blue Note; one New York album covers; and the Pete Turner (CTI) book. Speaking of Shorty Rogers, one year he was set to appear at the festival but had to beg off due to illness. If memory serves me right, he died while the festival was ongoing in November 1994. I don't have much of his recorded output but one west coast jazz record I like is "Wherever the Five Winds Blow" by Shorty's quintet with Giuffre.
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https://utstat.utoronto.ca/mikevans/hroberts/sounds/side50s.html
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Howard Roberts As Sideman
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Bobby Troup and Howard Roberts (photo taken from a 1960 Gibson catalogue but probably taken much earlier)
Recordings With Howard Roberts As Sideman, 1950-1959
Jazz Superstars: Jam Session Record No. 101
1952 - Jam Session JS-101.
Selections: Lady Bird, Out of Nowhere, Keen and Peachy, Donna Lee.
Personnel: tenor - Wardell Gray, trumpet - Art Farmer, piano - Amos Trile (first two), Hampton Hawes (last two), bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: Recorded live Sept. 9, 1952 at the Haig in L.A.
Comments: Nice recording, H.R. plays great. Thanks to Bill Hunter for this.
Jazz Superstars: Jam Session Record No. 102
1952 - Jam Session JS-102.
Selections: Tiny's Blues, I Cover the Waterfront/I'm in the Mood for Love, Out of Nowhere, Our Delight, Lullaby of the Leaves, Blues.
Personnel: On Tiny's Blues, I Cover the Waterfront and I'm in the Mood for Love: tenor sax - Gerry Mulligan, Dave Pell, trumpet - Ted Ottison, piano - Paul Smith, bass - Joe Mondragon, drums - Bill Wilson. On the remaining tracks: baritone sax - Gerry Mulligan, piano - Jimmy Rowles, bass - Joe Mondragon, drums - Tommy Rundell, guitar - Howard Roberts.
Session: Recorded live May 27, 1952 at the Haig in L.A.
Comments: H.R. solos only on Our Delight. The recording is not of high fidelity and he is under-recorded relative to the other instruments. He plays well but with with a fairly distorted tone. Probably the amp had to be turned up to be heard. As far as I know, this is H.R.'s first recording. Thanks to Gérard Dugelay of Metz, France for this.
Wardell Gray Quintet - Live at The Haig 1952
1952 - Fresh Sound Records, FSR-CD 157 - 1991 reissue.
Selections: Bernie's Tune (B. Miller), The Squirrel (T. Dameron), Pennies From Heaven (Johnston-Burke), Donna Lee (C. Parker), Taking A Chance On Love (Duke-Latouche), Jackie (H. Hawes), Get Happy (Arlen-Koehler), Keen And Peachy (S. Rogers), Lady Bird (T. Dameron).
Personnel: tenor sax - Wardell Gray, trumpet - Art Farmer, piano - Hampton Hawes, Amos Trice, bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: September 9, 1952 at the Haig in L.A.
Comments: H.R. is on the last two tracks only. H.R. plays with a somewhat distorted tone very unlike what he later developed. These selections also appear on Out of Nowhere - the Wardell Gray Sextet, Straight Ahead Jazz, SAJ-1003.
Bobby Troup
1953 - Capitol T484H484.
Selections: Chicago (Fisher), Hungry Man (Troup), I Can't Get Started (Duke-Gershwin), Where You At (Segel-Handy), My Blue Heaven (Donaldson-Whiting), The Three Bears (Troup), Dinah (Akst-Lewis-Young), Lemon Twist (Troup), 'Deed I Do (Rose-Hirsch), The Girl Friend (Rodgers-Hart), You're Looking at Me (Troup), Five Days, Six Hours and Thirteen Minutes (Springer-Hirsch).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Harry Babasin, drums - Don Heath, trombone - Bob Enevoldsen, Newcomb Rath, Jack Dulong, Bill McDougal, baritone sax, Don Davison.
Session: Los Angeles, August 1953.
Comments: The first 8 tunes were first issued on a 10" lp Capitol H484. Some nice guitar on The Girl Friend and 5 Days, 6 Hours and 13 Minutes. The album cover (this is the cover of the 10") has some pictures of the trio in action. You can make out H.R. in some of these.
June Christy - Something Cool
1954 - Capitol, reissued on CD in 1991, CDP 7 96329.
Selections with H.R.: Lonely House (Weill-Hughes), I Should Care (Weston-Stordahl-Cahn), It Could Happen To You (van Heusen-Burke),The First Thing You Know, You're In Love (Torme), A Stranger Called the Blues (Torme-Wells), I'll Take Romance (Oaksland-Hammerstein II), Look Out Up There (Raskin-Rugolo), Softly As In a Morning Sunrise (Romberg-Camacho-Hammerstein II), Out of Somewhere (Unknown), Love Doesn't Live Here Any More (Unknown).
Personnel: Pete Rugolo's Orchestra, arranger and conductor - Pete Rugolo, trumpet - Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Milt Bernhart, Harry Betts, Tommy Pederson, alto sax - Harry Klee, Bud Shank, tenor sax - Bob Cooper, Ted Nash, Baritone sax - Chuck Gentry, piano - Russ Freeman, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne.
Session: L.A. January 18, 19, 1954.
Comments: Mainly just comping but some nice guitar on I'll Take Romance.
Bob Cooper Sextet - Group Activity
1954 - Capitol reissued on Affinity together with Bill Holman Octet, Aff 65.
Selections with H.R.: The Way You Look Tonight (Kern-Fields), Polka Dots and Moonbeams (van Heusen-Burke), Solo Plight (Cooper), Lisbon Lady (Cooper), She Didn't Say Yes(Kern-Harbuch), When the Sun Comes Out (Arlen-Koehler), Excursion (Cooper).
Personnel: tenor sax - Bob Cooper, piano - Claude Williamson bass - Joe Mondragon, Curtis Counce, drums - Shelly Manne, Stan Levy, guitar - Howard Roberts.
Session: Hollywood, May 14 and July 30, 1954.
Comments: Excellent album and wonderful guitar.
Jazz Studio Two
1954 - Jasmine JASM 1029.
Selections: Laura (Raskin-Mercer), Here Come The Lions (Graas), Paicheck (Paich), Graas Point (Graas), Darn That Dream (Van Heusen-Delange), Do It Again (Gershwin).
Personnel : guitar - Howard Roberts, tenor saxophone - Jimmy Giuffre, piano - Marty Paich, trumpet - Don Fagerquist, trombone - Milt Bernhart, french horn - John Graas, alto saxophone - Herb Geller, bass - Curtis Counce, drums - Larry Bunker.
Session : L.A. June 4, 1954.
Comments: Beautiful guitar on this. It should be reissued. Here is a picture of the musicians from the album cover with H.R. in the back row. Many thanks to Dave Gould for this. Dave has an extensive collection of jazz guitar recordings. Dave has published discographies titled "Wes Montgomery on CD" and "Django Reinhardt on CD".
Bob Enevoldsen Quintet
1954 - Nocturne NLP6. Jazz in Hollywood Series.
Selections: Fast Buck (M. Paich), My Old Flame (A. Johnston-S. Coslow), Danza To Brasil (M. Paich), Lulu's Back In Town (H. Warren-A. Dubin), Bob White (J. Mercer-B. Hanighen), Where Did The Gentleman Go? (B. Troup), Snootie Little Cutie (B. Troup).
Personnel : trombone - Bob Enevoldsen, guitar - Howard Roberts, piano - Marty Paich, bass - Harry Babasin, drums - Don Heath.
Session: Western Recorders, Hollywood, July 14 and 18, 1954.
Comments: Great playing by Howard Roberts on this. This is part of a recently released (March, 1998) 3 CD set from Fresh Sound called "The Complete Nocturne Recordings, Jazz in Hollywood Series - Volume 1". Other albums included are by Bud Shank, Herbie Harper, Harry Babasin, Lou Levy, Jimmy Rowles and Virgil Gonsalves. Excellent set with great documentation and photos. Here is a picture of H.R. from this session.
Introducing Pete Rugolo
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: That Old Black Magic (Mercer-Arlen), Early Stan (Rugolo), Bazaar (Khatchaturian: arr. Rugolo), California Melodies (Rose), You Stepped Out of a Dream (Kahn-Brown), 360 Special (Rugolo), Laura (Mercer-Raksin), Come Back Little Rocket (Rugolo), In the Shade of the Old Apple Tree (Williams-Van Alstyne), Sidewalks of New York Mambo (arr. Rugolo), Theme from the Lombardo Ending (Rugolo), Manana (Lee-Barbour).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Harry Betts, Milt Bernhart, John Haliburton, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, John Graas, Joe Eger , Bill Hinshaw tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 8, 1954.
Adventures In Rhythm - Pete Rugolo and his Orchestra
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: Here's Pete (Rugolo), My Funny Valentine (Hart-Rodgers), Mixin' The Blues (Rugolo), Poinciana (Bernier-Simon), Rugolo Meets Shearing (Lunham-Saunders-Rugolo), Sambamba (Baxter), King Porter Stomp (Morton), You Are Too Beautiful (Hart-Rodgers), Jingle Bells Mambo (Rugolo), The Will Never Be Another You (Gordon-Warren), Conversation (Ferrer), Good Evening Friends Boogie (Rugolo).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Buddy Childers, Shorty Rogers, Don Paladino, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, Bill Hinshaw, John Cave tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 22, April 29, May 10, June 21 1954.
Leonard Feather Presents: Best from the West - Volume 1
1954 - Blue Note BLP5059 - reissued by Fresh Sound.
Selections: Santa Anita (M. Rogers), Santa Monica (B. Collette), The Blindfold Test No. 1 (M. Rogers), Culver City (M. Rogers), The Blindfold test No. 2 (M. Rogers), Hooray for Hollywood (Whiting-Mercer).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Santa Monica (nice solo) and The Blindfold Test No. 2.
Leonard Feather Presents: Best from the West - Volume 2
1954 - Blue Note BLP5060 - reissued by Fresh Sound.
Selections: Van Nuys Indeed (J. Graas), Here's Pete (P. Rugolo), The Blindfold Test No. 3 (M. Rogers), Burbank Bounce (M. Rogers), Arcadia (M. Rogers), No Love, No Nothing (Warren-Robin).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Here's Pete and No Love, No Nothing. Beautiful solo on the latter. It seems these two albums were initially issued as "a musical blindfold test"; i.e. the listener had to guess who the players were.
Terry Pollard
1955 - Bethlehem BCP-1015 and reissued by Toshiba EMI as TOJJ-1015 in 10" format in 2000.
Selections: Fedi (Pollard), Laura (Raskin), Where Or When (Rodgers-Hart), Autumn Serenade (DeRose-Gillespie), Scrapple From The Apple (Parker), Emaline (Little-McHugh), The More I See You (Warren-Gordon), Almost Like Being In Love (Loewe-Lerner).
Personnel: trumpet - Don Fagerquist, piano - Terry Pollard, guitar - Howard Roberts, bass - Herman Wright, drums- Frank DiVito.
Session: L.A., January 10, 1955.
Comments: Excellent recording with some fine contributions from H.R.
Tommy Traynor/ Peggy Connelly Sings
1955? - Nocturne Records reissued on Fresh Sound FSR-607.
Selections with H.R.: Married An Angel (Rodgers-Hart), Neath The Willow Tree (Ray Gilbert), Livin' With Love (Ray Gilbert), Am I Blue (Harry Akst-Grant Clarke).
Personnel : piano - Arnold Ross, guitar - Howard Roberts, bass - Harry Babasin.
Session:
Comments: It seems this recording lead to the founding of Nocturne Records (according to the liner notes). H.R. plays on the Tommy Traynor selections and makes some nice contributions. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Rugolomania - Pete Rugolo And His Orchestra With The Rugolettes
1955 Columbia CL 689.
Selections : Gone With The Wind, In A Sentimental Mood, Bobbin' With Bob, 4:20 A.M., Little White Lies, Me Next, Bongo Dance, Intermezzo, Montevideo, I've Had My Moments, Everything I Have Is Yours, Hornorama.
Personnel : arranger - Pete Rugolo, trumpet - Maynard Ferguson, Buddy Childers, Shorty Rogers, Uan Rasey, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, French horn - Vince DeRosa, John Graas, tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison Jack Costanzo.
Session: Los Angeles, May 10, Oct. 11 1954, Feb. 22, 23 1955.
Comments: Many good guitar contributions on this. The Rugolettes were a subgroup of the orchestra. I believe Milt Bernhart, John Graas, Paul Sarmento, Bud Shank, Bob Cooper, Howard Roberts, Harry Babasin, Shelly Manne and Pete Rugolo comprised The Rugolettes. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
New Sounds by Pete Rugolo
1955 Harmony HL7003.
Selections : Shave And A Haircut, Latin Nocturne, Conversation (The Shrike) (Ferrer), Poinciana (Bernier-Simon), Manhattan Mambo, Quiet Village, When Your Lover Has Gone, When You're Smiling, Come Back Little Rocket (Rugolo), You Stepped Out Of A Dream (Kahn-Brown).
Personnel: Various from Introducing Pete Rugolo, Adventures In Rhythm and Rugolomania.
Session: L.A. Feb. 8, 22, April 29, May 10, June 21, July 8, Oct. 11 1954 and Feb. 22, 23 1955.
Comments: Unmistakable H.R. on When You're Smiling. Beautiful! Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Jazz Studio 3 - John Graas
1955 - Decca DL 8104
Selections: Mulliganesque (Graas), My Buddy (Kahn-Donaldson), 6/4 And Even (Graas), Charleston (Mack-Johnson), Rogeresque (Graas), Jazz Selections from "Symphony No. 1 In F Minor) (Graas), 12th Street Rag (Razaf-Bowman).
Personnel : trumpet - Don Fagerquist, Conte Candoli, french horn - John Graas, alto sax - Charlie Mariano, tenor sax - Zoot Sims, baritone sax - Gerry Mulligan, Jimmy Giuffre, piano - Andre Previn, Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, Curtis Counce, drums - Larry Bunker.
Session: L.A. Dec. 16, 1954 and Jan. 6, 1955.
Comments A great album with lots of contributions from H.R. Many thanks to Ron Benson (designer of the Benson amplifier) for this.
John Graas - Jazz Lab-1
1955 Decca DL 8343.
Selections: Minor Call (John Graas-George Liberace), Mozartesque (John Graas), Le Chasse (Ed Loe), Friar Tuck (John Graas), Canaon Ball (John Graas), Pick Yourself Up (Jerome Kern), Andante (John Graas), Allegretto (John Graas), Softly the Horn Blows (Shorty Rogers), Lighthouse 6/4 (John Graas).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave pell, alto - Bert Herbert, Ronnie Lang, drums - Larry Bunker, trumpet - Don Fagerquist, piano - Claude Williamson, Marty Paich, vibes - Red Norvo, clarinet - Jimmy Giuffre, trombone - Bob Enevoldsen.
Session: L.A., Nov. 28, 1955.
Comments : Great record with lots of guitar. Similar in content to Jazz Studio Two as both seem to be experiments in giving jazz a somewhat "classical" feel and context.
John Graas - Jazz Lab-2
1955 Decca DL 8478.
Selections with H.R.: Be My Guest (Shorty Rogers).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave Pell, alto - Bert Herbert, drums - Larry Bunker, trumpet - Don Fagerquist, vibes - Red Norvo, clarinet - Jimmy Giuffre.
Session: L.A., Nov. 28, 1955.
Comments : No guitar to speak of on this one track but the album is generally quite good.
World's Greatest Jazz Jam Session featuring Jack Millman
1955 - reissued on Stack-O-Hits Records in 1981.
Selections with H.R.: Just a Pretty Tune (J. Millman), Pink Lady (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, piano - Claude Williamson, tenor - Jimmy Giuffre, alto - Herb Geller, baritone sax - Bob Gordon, valve trombone - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongas - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments : An album of compositions by Jack Millman. H.R. plays a short solo on Pink Lady. These selections also appeared on the CD Jack Millman and the Hollywood All Stars Vol. #1. Many thanks to Ed Barr of Valdosta State University for this. The selections on the album seemed to have been issued on many different recordings. Lord lists two more selections from this recording session; namely Groove Juice and Bolero de Mendez, but also gives information that contradicts that given on the album and what I hear. See entry on Jack Millman and his Allstars on Fresh Sound below as well.
Jack Millman and his Allstars
1955 - Fresh Sound FSR-CD.
Selections with H.R.: Pink Lady (Jack Millman), Bolero de Mendez (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, tenor - Jimmy Giuffre, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments: Groove Juice, Pink Lady, Bolero de Mendez and Just a Pretty Tune also appear on Jazz Studio Four, Decca DL8156. Groove Juice and Pink Lady also appear on the CD, Jack Millman All Stars - Shades of Things to Come, Progressive Records PCD-7098, 2002, where H.R. is listed (inappropriately) as playing on Groove Juice but not Pink Lady.
Jazz Reflections: Jack Millman's All Star Jazz Orchestra
195? - reissued as Tootsie Records AW 14307 in 1979
Selections: (All compositions by Jack Millman) Going South, Baja, Two Suites For Love, Subtle Hype, Easy Groove, Allright, On The Up Side, Cool School, View From The Top, Down Home.
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, Barney Kessel, Dan Overburg, bass - Curtis Counce, Red Mitchell, tenor - Jimmy Giuffre, Jack Montrose, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, Chico Hamilton, trumpet - Don Fagerquist, Maynard Ferguson, vibes - Red Norvo, piano - Claude Williamson, Gerald Wiggins, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: Probably 1955, L.A.
Comments: Nice album. The guitar solo on Subtle Hype sounds like H.R.
Frank Morgan
1955 - GNPD 9041.
Selections: Bernie's Tune (B. Miller), My Old Flame (Coslow-Johnson), I'll Remember April (Raye-DePaul-Johnson), Neil's Blues (Morgan), The Champ (Gillespie), Chooch (Morgan), The Nearness of You (Carmichael-Washington), Whippet (Morgan), Milt's Tune (Jackson), Get Happy (Arlen-Koehler), Crescendo Blues (J. Sheldon), "Huh", Autumn Leaves (Kozma-Mercer-Prevert), Well You Needn't (T. Monk), B.T. (B. Timmons).
Personnel : alto sax - Frank Morgan, tenor sax - Wardell Gray, James Clay, organ - Wild Bill Davis, trumpet - Conti Candoli, Jack Sheldon, guitar - Howard Roberts, piano - Carl Perkins, Bobby Timmons, bass - Leroy Vinnegar, drums - Lawrence Marable.
Comments : Good guitar work on a couple of tracks and in particular on The Nearness of You. Here is a great photo , from the collection of Ray Avery, that could be from this recording session.
Helen Carr - Why Do I Love You
1955 - Bethlehem BCP45.
Selections: Then You've Never Been Blue (Lewis-Young-Fiorito), Summer Night (Dubin-Warren), Got a Date With An Angel (Tunbridge-Waller-Grey-Miller), Why Do I Love You (Kern-Hammerstein II), Do I Worry (Cowan-Worth), I'Ve Got A Feelin' You're Foolin' (Freed-Brown), Be Careful It's My Heart (Berlin), My Kind of Trouble Is You, Lonely Street (Villepegue-Carr), Symphony (Alstone-LAwrence), You're getting To Be A Habit With Me (Dubin-Warren), Bye Bye Baby (Robin-Styne).
Personnel : vocal - Helen Carr, guitar - Howard Roberts, bass - Red Mitchell, trumpet - Cappy Lewis.
Session : Nov. 11, 1955.
Comments : Interesting format with only guitar for harmonic support and no drums. As usual H.R. plays amazingly well. This together with the Julie London album prove he was a master of this genre. This album was reissued with some additional material on the CD Helen Carr The Complete Bethlehem Collection.
Pete Jolly Trio and Sextet - Jolly Jumps In
1955 - reissued On RCA/Spain 74321125822.
Selections with H.R.: Jolly Jumps In (Giuffre), Pete's Meat (S. Rogers), Why Do I Love You? (Kern-Hammerstein), I Get A Kick Out Of You (Porter).
Personnel : accordion - Pete Jolly, guitar - Howard Roberts, bass - Curtis Counce, trumpet - Shorty Rogers, baritone saxophone - Jimmy Giuffre, drums - Shelly Manne, bass - Curtis Counce.
Session : March 6, 1955.
Comments : Pete Jolly on accordion! There are some trio sessions on this as well where Pete Jolly plays piano. Some nice guitar but not too much. Noteworthy is a fine solo on I Get A Kick Out Of You - see Music for another great H.R. solo on this song.
Pete Jolly Quartet - Hyacinth
1956 - reissued on various compilations.
Personnel: accordian - Pete Jolly, guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neal.
Session: ABC Studios, Hollywood, June 3, 1956.
Comments: This tune has been released on several Pete Jolly compliations and is available on iTunes.
Bobby Troup Plays Johnny Mercer
1955 - Bethlehem - released on Affinity in 1987.
Selections: Jamboree Jones (Mercer), Midnight Sun (Hampton-Burke-Mercer), Come Rain Or Come Shine (Arlen-Mercer), Laura (Raskin-Mercer), That Old Black Magic (Arlen-Mercer), One For My Baby (Arlen-Mercer), Cuckoo In The Clock (Donaldson-Mercer), Day In, Day Out (Bloom-Mercer), Jeepers, Creepers (Warren-Mercer), (Love's Got Me In A) Lazy Mood (Miller-Mercer), Skylark (Carmichael-Mercer), I'm With You (Troup-Mercer).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Red Mitchell, drums - Don Heath, trombone - Bob Enevoldsen.
Session: Los Angeles, January 28, 1955.
Comments: Bobby Troup's vocals are an acquired taste but I've grown to like them. The guitar playing on this and the next two Bobby Troup recordings is outstanding! This has been reissued on CD West Side WESA 854.
The Distinctive Style of Bobby Troup
1955 - Bethlehem BCP-35
Selections: Mountain Greenery (Rodgers-Hart), It Still Suits Me (Hammerstein-Kern), Little Girl Blue (Rodgers-Hart), Manhattan (Rodgers-Hart), You Are Too Beautiful (Rodgers-Hart), They Can't Take That Away From Me (I. Gershwin-G. Gershwin), I've Got My Love To Keep Me Warm (Berlin), Gypsy In My Soul (Jaffe-Boland), The Boy Next Door (Martin-Blane), Love Is Here To Stay (I. Gershwin-G. Gershwin), Have You Met Miss Jones (Rodgers-Hart), The Lady Is A Tramp (Rodgers-Hart).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Hollywood, August, 1955.
Comments: Thanks to Bill Harter for this. Fabulous guitar especially on Have You Met Miss Jones! This has been reissued on CD West Side WESA 855.
Bobby Troup and his trio
1955 - Liberty LRP 3002.
Selections: Thou Swell (Rodgers-Hart), I've Got A Crush On You (Gershwin), Old Devil Moon (Harburg-Lane), That's All (Haymes), The Hucklebuck (Alfred-Gibson), Yes Sir, Thats My Baby (Kahn-Donaldson) , I Get A Kick Out Of You Porter), My Funny Valentine (Rodgers-Hart), They Didn't Believe Me (Kern), Dream Of You (Lunceford-Oliver-Moran), I've Got You Under My Skin (Porter), Let's Get Away From It All (Dennis).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Celebrity Room, Hollywood, 1955.
Comments: Thanks to Bill Harter for this. Recorded at the Celebrity Room in Hollywood, CA. Great guitar playing.
Bobby Troup - The Feeling of Jazz
1955 - a number of performances from the 50's and 60's released on the Starline CD SLCD-9009 in 1994.
Selections with H.R.: Midnight Sun (Burke-Hampton-Mercer), Lullaby of Birdland (Shearing-Weiss), I Get a Kick Out of You (Porter), Daddy (Troup), Moonlight in Vermont (Blackburn-Suessdorf), The Three Bears (Troup), Route 66 (Troup), That Old Black Magic (Arlen-Mercer), There She Goes (Troup), Learnin' the Blues (Silvers).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Recorded on 9/17/55, 9/24/55 and 10/1/55 at the Bacchante Room, Huntington-Sheraton Hotel, Pasadena, CA.
Comments: Excellent CD generally and H.R.'s playing is wonderful. The CD also has selections with Herb Ellis, John Collins and Bucky Pizzarelli.
Bethlehem's Girlfriends - Julie London, Carmen McRae, Chris Connor
1955 - Bethlehem BCP 6006.
Selections with H.R.: A Foggy Day (Gershwins), Don't Worry About Me (Koehler-Bloom), Sometimes I Feel Like A Motherless Child (P.D.), You're Blase (Hamilton-Siever).
Personnel: vocal - Julie London, piano - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , flute - Buddy Collette and others unlisted.
Session: Estimated to be 1955 sometime.
Comments: Compilation album and excellent. Supposedly these are Julie London's first recordings predating the Julie Is Her Name albums. Some excellent music on the entire album and some nice contributions from H.R. Here is link to a Julie London website.
The Chico Hamilton Trio
1955 - Pacific Jazz 10" recording. Album front and back with a nice picture of Howard Roberts.
Selections: Broadway (Wood-Macrea-Boyd), What Is There To Say, Street of Drums (C. Hamilton), Nuttye (J. Cheatham), Buddy Boo, We'll Be Together Again (Fisher-Laine), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Chico Hamilton.
Session: Hollywood, December 6, 1953 and Los Angeles, October 2, 1954.
Comments : Excellent record. This recording led to H.R. winning a down beat Guitar - New Star award in The Third Annual Jazz Critics Poll in 1955 ( The Critics Choices, down beat, Aug. 24, 1955, p.10 ). This recording together with some recordings made with Jim Hall in 1956 have been released on CD Fresh Sound FSR-CD 471 in 2007. This recording is discussed in the book Bassically Speaking: An Oral History of George Duvivier, by Edward Berger, Studies in Jazz No. 17, Institute of Jazz Studies, Rutgers, 1993. On page 169 Duvivier is quoted as saying
"That same year 1956, I did a very challenging recording with Chico Hamilton. We were both working with Lena Horne in Los Angeles when Dick Bock of Pacific Jazz approached us to a trio album with Jim Hall. ... Chico and I both wrote some originals and Jimmy Cheatham, the trombonist brought in a thing of his called Nuttye. We concentrated on making each track completely different. The guitar parts were awesome. Howard Roberts, who subbed for Jim Hall in places, came in and sight-read those things!"
Although, Duvivier (who organized the session together with Chico Hamilton) indicated that it was supposed to be a session with Jim Hall, there is no explanation for how tracks made with H.R. in 1953 wound up on the record. (Many thanks to Mike Kremer and to Adrian Pellew for helping to straighten out some details.)
The Chico Hamilton Trio
1956 - Pacific Jazz.
Selections: Blues On the Rocks (G. Duvivier), Street of Drums (C. Hamilton), We'll Be Together Again (Fisher-Laine), Skinned Strings (Hamilton-Duvivier), Nuttye (J. Cheatham), Porch Light (G, Duvivier), Broadway (Wood-Macrea-Boyd), Autumn Landscape (G. Duvivier), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts and Jim Hall, bass - George Duvivier, drums - Chico Hamilton.
Comments : This is a reissue of most of the material on the above 10" recording together with some additional cuts featuring Jim Hall. In particular, Jim Hall is on Blues On The Rocks, Autumn Landscape, and Porch Light and neither guitarist plays on Skinned Strings. Many thanks to Dave Gould for this (see above under Jazz Studio Two) and to Mike Kremer and Adrain Pellew for helping me sort out who played on what.
3 Roads to Jazz
1956 American Recording Atrists ALP-100.
Selections: Top O' the Mark (Jerry Vaughn).
Personnel: leader - Jerry Vaughn, accordion - Marty Paich, alto sax - Herb Geller, drums - Chico Hamilton, guitar - Howard Roberts, bass - Bob Enevoldsen.
Session: L.A., January, 1956.
Comments: H.R. as a part of the Jerry Vaughn Quintet doing one song. Tommy Tedesco is the guitarist on the remaining tunes on the record by this group. Nice solo by H.R. Also included on the recording are selections by Zep Meissner's Dixieland Allstars and Van Alexander and the Mills Blue Rhythm Band.
Pete Rugolo: Music For Hi-Fi Bugs
1956 - Emarcy Mg-36082.
Selections: For Hi-Fi Bugs (P. Rugolo), Once In A While (B. Green-M. Edwards), Fawncy Meeting You (N. Hefti), These Foolish Things (Holt-Marvell-Link-Stackney), Later Team (P. Rugolo), Oscar and Pete's Blues (O. Peterson-P. Rugolo), Dream Of You (S. Oliver), Snowfall (C. Thornhill).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: Nice chord solo on These Foolish Things. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Out On A Limb.
Out On A Limb - Pete Rugolo and His All-Stars
1956 - Emarcy MG 36115.
Selections with H.R.: Don't Play the Melody (Rugolo), In A Modal Tone (Rugolo), Early Duke (Rugolo), The Boy Next Door (R. Blane-H. Martin), Cha-Lito Linda (Rugolo), Smoke Gets In Your Eyes (J. Kern-O. Harbach).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: H.R. is featured on The Boy Next Door. There are four more unlisted tracks where Barney Kessel replaces H.R. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Music For Hi-Fi Bugs..
Pete Rugolo: An Adventure In Sound - Brass
1956 Mercury SR60044.
Selections with H.R.: Can't We Talk It Over (N. Washigton-V. Young).
Personnel: trumpet - Don Palladino, Ray Linn, Pete Candoli, Maynard Ferguson, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, piano - Russ Freeman.
Session: Los Angeles, July 10, 1955.
Comments: Some nice guitar work on this. Barney Kessel is on the remaining tracks. This track also appears on Maynard Ferguson - Jazz Masters 52.
Corky Hale Plays Gershwin and Duke
1956 - GNP - Crescendo GNP9035.
Selections: A Foggy Day (G. and I. Gershwin), Soon (G. and I. Gershwin), What Is There To Say (Duke-Harburg), There's An Island In The West Indies (Duke), I Can't Get Started (Duke-Gershwin), Autumn In New York (Duke), Somebody Loves Me (Gershwin-DeSylva-McDonald), But Not For Me (G. and I. Gershwin), Taking A Chance On Love (Duke-Latouche), April In Paris (Harburg-Duke), Cabin In The Sky (Duke-Latouche), London In July (Duke-Cahn).
Personnel: harp, piano and flute - Corky Hale, guitar - Howard Roberts, bass - Red Mitchell, Bob Enevoldsen, drums - Chico Hamilton, Don Heath, flute and tenor - Buddy Colette, vibes - Larry Bunker.
Session : L.A., 1956.
Comments : Nice album with lots of guitar.
Jazz For Relaxation - Marty Paich
1956 - Tampa - released in 1995 on V.S.O.P.
Selections: Dool's Blues (M. Paich), Jump For Me (C. Basie), There'll Never Be Another You (Jacobs-Tinturin), The Lamp Is Low (DeRose-Shefter-Parish), What's New (Haggart-Burke), Theme From Lighthouse (M. Paich), Lullaby Of The Leaves (Young-Petkere), I'll Remember April (Raye-DePaul-Johnson).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass -Joe Mondragon, drums - Larry Bunker.
Session : Hollywood, CA.
Comments: Excellent guitar on Lullaby Of The Leaves and I'll Remember April.
Broadway Showcase - Buddy DeFranco and His Orchestra
1956 - Verve - MGV-2033.
Selections: Speak Low (K. Weill-O. Nash), Who Cares (G. and I. Gershwin), Autumn in New York (V. Duke), Have You Met Miss Jones (Rogers-Hart), Mad About the Boy (N. Coward), Almost Like Being In Love (Lerner-Loew), Can't Help Lovin' Dat Man (Kern-Hammerstein), That Old Debbil Moon (Lane-Harburg), Makin' Whoopee (Donaldson-Kahn), In the Still of the Night (C. Porter), Come rain or Come Shne (Mercer-Arlen), Heat Wave (I. Berlin).
Personnel: arranger - R. Garcia, clarinet - Buddy De Franco, guitar - Howard Roberts, piano - Sonny Clarke and no other information.
Session: L.A., August 27-28, 1956.
Comments: Good album with lots of guitar.
Caution Men Swinging - Dennis Farnon
1956 - RCA LPM 1495.
Selections: Caution Men Swinging (Farnon), Spring Will Be A Little Late This Year (Loesser), Lover Come Back To Me (Hammerstein-Romberg), Shoo Shoo Baby (Moore), Just You, Just Me (Greer-Klages), Isle Of Capri (Grosz-Kennedy), South Of the Border (Beresford-Kennedy), It Don't Mean A Thing (Ellington-Mills), Why Don't You Do Right (McCoy), Three Little Words (Ruby), Resume Speed (Farnon).
Personnel: arranger - Dennis Farnon, guitar - Howard Roberts, trumpet - Conte Candoli, Don Fagerquist, Frank Beach, Paul Gell, trombone - Tommy Pederson, Joe Howard, Bob Enevoldsen, George Roberts, alto sax - Jack Dumont, Brian Farnon, tenor sax - Ted Nash, Gene Cipriano, baritone sax - Chuck Gentry, bass - Cliff Hills, drums - Alvin Stoller, piano - Jimmy Rowles, Lou Levy.
Session: Los Angeles, 1956.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. H.R. plays a couple of nice solos on Just You, Just Me and Spring Will Be a Little Late This Year.
Our New Nellie - Nellie Lutcher with Russ Garcia and His Orchestra
1956 - Liberty LRP 3014.
Selections with H.R.: Have You Ever Been Lonely (De Rose-Brown), (All of a Sudden) My Heart Sings (Rome-Herpin-Jamblin), Rose Colored Glasses (Steiger-Malie), Ole Buttermilk Sky (Carmichael-Brooks).
Personnel: guitar - Howard Roberts, Ulysses Livingston, bass - Mike Rubin, drums - Bill Richmond, trumpets - Buddy Childers, Frank Beach, Bob Fowler, trombones - Lloyd Ulyate, Dick Nash, Si Zentner, Murry MacEachren, bass and baritone sax - Ryland Weston.
Session : April 12, 1956 in Los Angeles.
Comments: Some nice guitar on this album. Barney Kessel is on some of the remaining tracks.
The Misty Miss Christy - June Christy
1956 - Capitol.
Selections: That's All (Brandt-Haymes), I Didn't Know About You (Ellington-Russell), Dat-Dream (Ellington-Strayhorn-LaTouche), Sing Something Simple (H. Hupfeld), Maybe You'll Be There (Bloom-Gallop), Dearly Beloved (Kern-Mercer), Round Midnight (Hanighen-Williams-Monk), A Lovely Way To Spend An Evening (McHugh-Adams), The Wind (Freeman-Gladstone), This Year's Kisses (I. Berlin), For All We Know (Coots-Lewis), There's No You (Hopper-Adair-Durgom), You Took Advantage Of Me (Rodgers-Hart), Intrigue (Durand-Drake).
Personnel : arranger - Pete Rugolo, piano - Claude Williamson, Barry Aronov, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, French horn - John Graas, guitar - Laurindo Almeida, Howard Roberts, trombone - Milt Bernhart, Frank Rosolino, Herbert Harper, George Roberts, Harry Betts flute - Bud Shank, Harry Klee, baritone saxophone - Bob Gordon, Chuck Gentry, tenor saxophone - Bob Cooper, drums - Lawrence Bunker, Shelley Manne, Alvin Stoller, bass - Harry Babasin, Joe Mondragon, harp - Corky Hale.
Session:July 28, 1955, Jan 9, 16, 23, 30 and May 23, 1956.
Blues and Brass - Elmer Bernstein
1956 - Decca DL8686.
Selections: (All compositions by Elmer Bernstein) Blues at Five, Jubilation, Exotica, The Poor People of Brazil, Central park - 4 AM, Wild and Crazy, Hop, Skip But Jump, Smooth, Lament in Five, Just a Little Jazz, Nightcap, Return of the Man.
Personnel: Conductor - Elmer Bernstein, guitar - Howard Roberts, Jack Marshall, Vito Mumolo, bass - Joe Mondragon, drums - Shelly Manne, piano - Ernest Hughes, Andre Previn, sax - Philip Sobel, Skeets Herfurt, Robert Cooper, Chuck Gentry, Bud Shank, Bill Holman, Dave Pell, trumpet - Pete Candoli, Maynard Ferguson, Ray S. Linn, Mannie Klein, Conrad Gozzo, Conte Candoli, trombone - Lloyd Ulyate, Marshall Cram, Milt Bernhart, Joe Howard, flute - Martin Ruderman, Sylvia Ruderman, clarinet - Mitchell Lurie.
Session: L.A. 1959.
Comments: Great music and a few nice contributions from H.R.
Modern Jazz Gallery
1956 - Kapp KXL-5001.
Selections with H.R.: As part of the Russ Garcia And His Orchestra: Music City (Garcia), Fishtail (Garcia), Smoggy Day (Garcia), Los Angeles River (Garcia), Number Four (Garcia). As part of the John T. Williams Quartet: Caribe (Towner), Spring Is Here (Rodgers-Hart), Anything Goes (Porter), Aunt Orsavella (Towner).
Session: With Russ Garcia - Hollywood, November 2, 1956 and with the John T. Williams Quartet - Hollywood, November 2, 1956.
Comments: H.R. is only comping on the Russ Garcia selections. The Russ Garcia Orchestra also recorded Out of Nowhere, Coquette and I Cover the Waterfront as part of these sessions and these were issued on the recording The Johnny Ever Greens ABC-147 (see below). H.R.'s soloing as part of the John T. Williams Quartet is outstanding and similar to his work on the John Towner Touch - 1957.
Pinky Winters - Lonely One
1956 - Creative/Argo (No. 604).
Selections: Lonely One, Polka Dots And Moonbeams, Cheek To Cheek, It Never Entered My Mind, You Smell So Good, Easy Living, Jeeper's Creepers, I've Got Plenty Of Love, Gone With The Wind, October's Dream, Pennies From Heaven, My Heart's A Child.
Personnel: vocal - Pinky Winters, drums - Chico Hamilton, piano - Gerald Wiggins, bass - Jim Wolf, guitar - Howard Roberts.
Comments: This is excellent recording. Pinky Winters is a *great* singer and H.R. makes some nice contributions. Many thanks to George Ziskind for procuring me a copy.
The Johnny Ever Greens - Russ Garcia and his Orchestra
1956 - ABC-Paramount ABC-147.
Selections: Body and Soul (Green-Heyman-Sour), Who Do You Think You Are (Green-Heyman), Living In Dreams (Green), Out Of Nowhere (Green-Heyman), I Wanna Be Loved (Green-Heyman), Steam Is On The Beam (Green-Marion), The Trembling Of A Leaf (Green-Lawrence), Easy Come, Easy Go (Green-Heyman), I Cover The Waterfront (Green-Heyman), Coquette (Green-Kahn-Lombardo), You're Mine You (Green-Heyman), Not Bad (Green-Dyrenforth), Hello My Lover Goodbye (Green-Heyman), There's A Ring Around The Moon (Green-Mercer), I'm Yours (Green-Harburg), With You With Me (Green-Mercer).
Personnel: arranger and leader - Russ Garcia, piano - John T. Williams, guitar - Howard Roberts, bass - Joe Comfort, drums - Alvin Stoller, Bill Richmond, trombone - Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Dick Nash, Joe Howard, trumpet - Don Fagerquist, Cappy Lewis, Buddy Childers, french horn - Vince De Rosa, xylophone - Ralph Hensell, vocals - Sue Allen, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 1956.
Comments : Good big band style comping by H.R. This is an album of tunes associated with Johnny Green.
Walter Gross plays his own great songs - Russell Garcia and his Orchestra
1956 - ABC-Paramount ABC-153.
Selections: Tenderly (Gross-Lawrence), Please Remember (Gross-Troup), Sit Down (Gross), Voice In The Wind (Gross-Frees), There Isn't Anybody Like You (Gross-Russell), After Summer (Gross), Once We Were Young (Gross), Mexican Moon (Gross), Dear To My Heart (Gross-Stanley), Gypsy (Gross-Rinker), Concerto For Broken Heart And Orchestra (Gross), The Birthday Song (Gross), You're Not In Love (Gross), Find Me I'M Lost (Gross), Theme From "Big City".
Personnel: arranger and leader - Russ Garcia, piano - Walter Gross, guitar - Howard Roberts, bass - Joe Comfort, drums - Jack Sperling, Alvin Stoller, trombone - Tommy Pederson, Lloyd Ulyate, Dick Nash, trumpet - Don Fagerquist, Cappy Lewis, Ray Linn, Don Fagerquist, Manny Klein, french horn - Richard Perisi, clarinet and flute - Harry Klee, ted Nash,oharp - Stella Catelluci, vocals - Ginger Hall, Sylvia Reid, Loulie Jean Norman, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 195?.
Comments : Similar to the Johnny Ever Greens. Some nice contributions by H.R. but no solos.
Ray Gardner and His Quintet
1957 - Normandy Records 45 RPM Extended Play 100-A
Selections: If I Had You (Shapiro-Campbell-Connelly), Dancing On The Ceiling (Rodgers-Hart), Roses of Picardy (Wood-Weatherly), Almost Like Being In Love (Lerner-Loewe).
Personnel: clarinet - Ray Gardner, accordion - Ernie Felice, vibes - Larry Bunker, guitar - Howard Roberts, bass - Rolly Burdock, drums - Bill Richmond.
Session: L.A., January, 1957.
Comments : Interesting recording. The accordion contributes a nice touch and H.R. is quite prominent. Great music!
The Brothers Candoli
1957 - Dot DLP 3062.
Selections: Disc-location, Beautiful Love, Crazy Rhythm, My Funny Valentine, Exodus in Jazz, Fascinating Rhythm, Love Your Spell is Everywhere, It Never Entered My Mind, Pe-Con, Twilight on the Trail, Rockin' Boogie.
Personnel: trumpets - Pete and Conte Candoli, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, piano - Jimmy Rowles.
Session: May 6 and May 13, 1957 in L.A.
Comments : Lots of good contributions from H.R. on this good album. Includes H.R. playing 50's style rock guitar on Rockin' Boogie. Many thanks to Ed Barr of Valdosta State University for this.
Tony Perkins
1957 - Epic LN 3394, reissued on Fresh Sound Records.
Selections: April Fool (G. Davis), Just Friends (Klenner-Lewis), Hit the Road to Dreamland (Mercer-Arlen), This Time the Dream's on Me (Mercer-Arlen), How Long Has This Been Going On (G. and I. Gershwin), But Beautiful (Burke-Van Heusen), Why Shouldn't I (Porter), I Wish I Knew (Gordon-Warren), Accidents Will Happen (Burke-Van Heusen), Gone With the Wind (Wrubel-Magidson), Better Luck Next Time (Berlin), How About You (Freed-Laine).
Personnel:The Marty Paich Orchestra, vocal - Tony Perkins, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, piano - Marty Paich, trumpet - Don Fagerquist, alto sax - Herb Geller, tenor sax - Bill Perkins.
Session: 1957 in Hollywood.
Comments : Anthony Perkins of Psycho fame singing. Good instrumental contributions although not too much from H.R.
Sessions, Live
1957 - Calliope CAL 3015.
Selections with H.R.: Fascinating Rhythm, I Loves You Porgy, Wrap Your Troubles in Dreams, Memphis in June (Carmichael), Concerto for Heartbeat and Machine.
Personnel: vocals - Lucy Ann Polk, guitar - Howard Roberts, piano - Marty Paich, bass - Ralph Pena, drums - Frank De Vito.
Session: April 7, 1957, Stars of Jazz TV show, Los Angeles.
Comments: Nice solos by HR. This was also issued as Art Pepper/Buddy DeFranco Sessions, Live, and contains sessions from the same television show by Art Pepper (with Russ Freeman). The album cover only identifies H.R. as backing Lucy Ann Polk. Another discography lists the guitar and piano players on the Buddy DeFranco tracks as being Tal Farlow and Sonny Clark, respectively. This seems unlikely, however, as the guitarist sounds like H.R. and all these tracks are from the same television show. The tracks with Buddy DeFranco have been reissued on a Buddy DeFranco CD called Wailers. This CD contains the tracks of the original album (with Barney Kessel on guitar) together with 3 bonus tracks from the TV show which again make the mistake of crediting Tal Farlow as being on guitar. Interestingly the third track is a great version of Now's the Time and the guitar playing is very characteristic of H.R. at this time. Many thanks to Mitch Seidman for telling me about the Wailers CD.
Benny Carter Quartet and Quintet Take The "A" Train
1957 - issued on Fresh Sound FSR-CD 306 in 1997.
Selections with H.R.: Take The "A" Train (Strayhorn), Laura (D. Raksin), This Can't Be Love (Rodgers-Hart).
Personnel: guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neel, piano - Pete Jolly, alto sax - Benny Carter.
Session : Hollywood, June 3 1957.
Comments : Excellent guitar on these 3 selections from the Stars of Jazz television show.
Lena Horne - Stormy Weather
1957 - originally issued on RCA 45rpm EP EPA-4098 reissued on Bluebird CD in 2002.
Selections with H.R.: The Surrey With The Fringe On Top (Rodgers-Hammerstein II).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Shelley Manne, piano - Gene DiNovi.
Session : Radio Recorders, Los Angeles, July 3 1957.
Comments : Just comping.
Showcase for Modern Jazz - Featuring Outstanding Westcoast Jazzmen - Directed by Howard Lucraft
1957 - Decca, DL8679.
Selections with H.R.: Blue Moon (Rodgers-Hart), I May Be Wrong Sullivan-Ruskin), Smog A La Mode (Lucraft).
Personnel: guitar - Howard Roberts, alto sax - Bud Shank, baritone sax -Buddy Collette, bass - Red Mitchell, drums - Mel Lewis.
Session: L.A. June, July 1957.
Commnets: The guitarist on these selections is identified as "John Doe" while the guitarist on other selections is identified as Howard Lucraft. The Lord Discography identifies John Doe as H.R. and I definitely agree. Beautiful playing by H.R. and very typical of this period in his playing.
Billy Daniels - You Go To My Head
1957 - Verve MGV2072.
Selections with H.R.: Blue Skies (I. Berlin), Blues Prelude (Jenkins-Bishop), It's Delovely (Porter), You Turned The Tables On Me (Alter-Mitchell), Comes Love (Brown-Stept-Tobias), Hallelujah (Youmans-Robin-Grey).
Personnel: vocals - Billy Daniels, arranger - Benny Carter, drums - Milt Holland, Frank Carlson, bass - Joe Comfort, guitar - Howard Roberts, piano - Benny Payne, Jimmy Rowles, trumpets - Pete Candoli, Buddy Childers, Harry Edison, Shorty Sherock, trombones - Milt Bernhart, Tommy Pederson, Bill Schaeffer, George Roberts, reeds - Willie Smith, Morris Bercou, Buddy Collette, Chuck Gentry, Ben Webster.
Session: L.A., June 12, 1957.
Comments: Some nice comping and a small solo on Blue Skies.
Four Freshmen - Voices in Latin
1957 - Capitol T922
Selections with H.R.: Yesterdays (Kern-Harbach), Mine (G. & I. Gershwin), Again (Newman-Cochran), What's New (Haggart-Burke), Star Eyes (Raye-DePaul).
Personnel: vocals - Ken Albers, Bob Flanigan, Ross Barbour, Don Barbour, arranger and conductor - Pete Rugolo, trombone - Frank Rosolino, John Halliburton, Milt Bernhart, Herbie Harper, bass trombone - George Roberts, tuba - Clarence Karella, piccolo, flute and alto flute - Herbie Mann, guitar - Howard Roberts, piano - Jimmy Rowles, bass - Red Mitchell, drums - Shelly Manne, vibes and percussion - Bernie Mattinson, percussion - Milt Holland, bongos and percussion - Chico Guerrero.
Session: July 12, 1957, Los Angeles.
Comments: Just comping. The remaining tracks have Laurindo Almeida on guitar.
Rusty Bryant Plays Jazz
1957 - DOT DLP 3079
Selections with H.R.: That Old Black Magic (Arlen-Mercer), Mr. Wonderful (Bock-Holofcener-Weiss).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Max Albright.
Session: Aug. 6, 8 1957, L.A.
Comments: No solos by H.R. but he plays some nice obligatos behind Bryant and an interesting picture of H.R. on the back. Other selections have Jack Marshall and John Collins on guitar. Generally a pretty nice album. Here is a great picture from the session.
America's Greatest Jazz - Rusty Bryant
1957 - DOT DLP 25353
Selections: My Shining Hour (Mercer-Arlen), I Should Care (Cahn-Stordahl-Weston), Susie (Bryant-Mack), Why Was I Born (Kern-Hammerstein), This Time's the Dream's on Me (Mercer-Arlen), I Cover the Waterfront (Green-Heyman), Blue Lou Sampson-Mills), Frances' Dream (Bryant), It's a Blue World (Forrest-Wright), Street of Dreams (Young-Lewis), Almost Like Being in Love (Loewe-Lerner), When Your Lover Has Gone (Swan).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Shelly Manne, Max Albright, Alvin Stoller.
Session: Aug. 6, 8 1957, L.A.
Comments: Although recorded at the same session that produced Rusty Bryant plays jazz these recordings weren't released until 1961. No personnel are listed on this record. Generally nice recording with a great H.R. solo on My Shining Hour.
Teach Me Tonight - The de Castro Sisters
1957 - released on BCD 16381 (Bear Company) in 1999
Selections with H.R.: That Little Word Called Love (Colman), Old Timer's Tune (Raye-Dennis).
Personnel: vocals - Peggy, Cherie and Babette de Castro, guitar - Jack Marshall, Bob Bain, Howard Roberts, piano - Herbert Dell, bass - Red Callender, drums - Irving Cottler, clarinet - Ted Nash, trombone - Milt Bernhart, trumpet - Ray Linn.
Session: Aug. 17 1957, Radio Recorders Annex, Hollywood.
Comments: Sounds like Jack Marshall on the solos.
Herbie Harper/6
1957 - Mode - released in 1995 on V.S.O.P.
Selections: Jay's Tune (J. Core), Little Orphan Annie (Kahn-Sanders), Chloe (Moret-Kahn), Let's Fall In Love (Arlen-Koehler), Skylark (Carmichael-Mercer), Long Ago And Far Away (Gershwin-Kern), That's For Sure (Frankie-Capp).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, drums - Frankie Capp or Mel Lewis, trombone - Herbie Harper, tenor saxophone - Jay Core.
Session: Hollywood, CA.
Comments : Excellent guitar throughout.
Buddy DeFranco and the All Stars - Wholly Cats
1957 - Verve released on CD Lone Hill Jazz LHJ10282.
Selections with H.R.: Medley: Dancing in the Dark (Schwartz-Dietc)< Moonglow (Hudson-DeLange-Mills) and Time on My Hands (Adamson-Gordon-Youmans), Summit Ridge Drive (Artie Shaw).
Personnel: clarinet - Buddy Defranco, guitar - Howard Roberts, trumpet - Ray Linn, bass - Joe Mondragon, piano and harpsichord - Irving Garner, drums - Milt Holland.
Session: Oct. 31, 1957, Los Angeles.
Comments: Some of these tunes also appeared on Buddy DeFranco Plays Artie Shaw, 1957 - Verve MGV 2108. That album credits H.R. as being on Summit Ridge Drive while this album credits him with this tune plus the medley Dancing in the Dark, Moonglow and Time on my Hands and also Indian Love Call. The guitar on all the remaining tracks is credited to Barney Kessel. I don't think it is H.R. on Indian Love Call but I agree with the others.
Closed Session - Buddy DeFranco and his orchestra
1957 - Verve 2632 and reissued on Polygram in 1981 as UMV 2632.
Selections with H.R.: My Blue Heaven (Donaldson-Whiting), S' Wonderful (G. & I. Gershwin), Temptation (Freed-Brown), Softly as in a Morning Sunrise (Romberg-Hammerstein II).
Personnel: clarinet - Buddy DeFranco, trumpet - Ray Linn, piano and harpsichord - Paul Smith, guitar - Howard Roberts, bass - Joe Mondragon, drums - Milt Holland.
Session: L.A. November 1, 1957.
Comments : Excellent recording and some very nice guitar. I have the Polydor reissue and there are no personnel listed. Another discography lists Barney Kessel as the guitarist. Willie Borgschulte has a Verve (Japan) issue of this record which lists H.R. as the guitarist on these selections and Barney Kessel as the guitarist on the remaining tracks.
Axidentals - Hello, We're the Axidentals!
1957 - ABC-Paramount ABC-138.
Selections: I Lead A Charmed Life (Garcia-Russell), June Is Bustin' Out All Over (Rodgers-Hammerstein), You And The Night And The Music (Schwartz-Dietz), I Can't Give You Anything But Love (McHugh-Fields), Hello (Towner-Russell), Rock-A-Bye Your Baby With A Dixie Melody (Schwartz-Young-Lewis), I Can't Believe That You're In Love With Me (McHugh-Gaskill), Quiet Wind (Sumners-Chapman), Look For The Silver Lining (Kern-DeSylva), Love Is Sweeping The Country (Gershwin-Gershwin), For Me And My Gal (Goetz-Leslie-Meyer), What A Difference A Day Made (Grever-Adams), Hey Ma! I'm In Love (Elliott-Allen).
Personnel: vocals - Ann Winters, Milt Chapman, Sandy Rogers, Bob Sumners, arranger and leader - Russ Garcia, piano - Steve Atkin, guitar - Howard Roberts, bass - Joe Comfort, drums - Shelly Manne, Alvin Stoller or Mel Lewis, bongos - Ramon Rivera, trombone - Harry Betts, George Roberts, Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Bob Pring Jr., Ray Klein, trumpet - Maynard Ferguson, Don Fagerquist, Pete Candoli, Buddy Childers, Ray Linn, strings - William Kurasch, William Miller, Lou Raderman, Aamerigo Rickey Marino.
Session: L.A., , January 1957.
Comments : Just comping.
The John Towner Touch - John Towner
1957 - Kapp KL1055.
Selections: While We're Young (Engvick-Wilder-Palitz), Zigeuner (Coward), Wait Till You See Her (Rodgers-Hart), Bess, Oh Where's My Bess (Gershwin-Gershwin), One Love (Robin-Rose), The Most Beautiful Girl In The World (Rodgers-Hart), Diane (Rapee-Pollack), I'll Take Romance (Hammerstein-Oakland), Dear To My Heart (Gross), Hello (Williams), Tenderly (Lawrence-Gross), In a Little Spanish Town (Wayne-Lewis-Young).
Personnel : piano - John Towner, drums - Jack Sperling, bass - Joe Mondragon, guitar - Howard Roberts.
Comments : Some very nice contributions from H.R. The pianist is actually John Towner Williams (see here ) of movie soundtrack fame. Thanks to Jay Smith for this.
June Christy - June Fair and Warmer!
1957 - Capitol.
Selections: I Want to be Happy, Imagination, I've Never Been in Love Before, Irrestible You, No More, Better Luck Next Time, Let There Be Love, The Best Thing For You, Bewarre My Heart, I Know Why, Its Always You.
Personnel: Arranger and conductor - Pete Rugolo, flute and alto sax - Bud Shank, tuba - Clarence Karella, french horn - Vincent DeRosa, trumpet - Don Fagerquist, trombone - Frank Rosolino, tenor sax - Bob Cooper, baritone sax - Dave Pell, vibes - Larry Bunker, piano - Benny Aronov, guitar, Howard Roberts, bass - Red Mitchell, drums - Shelly Manne.
Session: Los Angeles, January 3, 15, 21, 1957.
Comments: Many thanks to C.C. Weijman of Utrecht for this. Very nice recording.
June Christy - Gone For The Day
1957 - Capitol T902.
Selections: It's So Peaceful in the Country (A. Wilder), When the Sun Comes Out (Arlen-Koehler), It's a Most Unusual Day (McHugh-Adamson), Interlude (Rugolo), Love Turns Winter to Spring (Dennis-Killduff), When You Awake (Nemo), Lazy Afternoon (LaTouche-Moross), When the World Was Young (Philippe-Gerard-Mercer), Gone For The Day (Cooper-Russell), Lost in a Summer Night (Raskin-Previn), Give Me the Simple Life (Bloom-Ruby), (Love's Got Me in a) Lazy Mood (Miller-Mercer).
Personnel: Arranger and conductor - Pete Rugolo,
6/18/57: French horn - John Cave, flute - Bud Shank, guitar - Howard Roberts, bass - Red Callender, drums - Irv Cottler, plus a "Large String Section"
7/2/57: trombones - Milt Bernhart, Herbie Harper, Tommy Pederson, Frank Rosolino, bass trombone - George Roberts, vibraharp - Bernie Mattison, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Alvin Stoller
7/15/57: flute - Bud Shank, oboe - Bob Cooper, bass clairinet - Marty Berman, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Shelly Manne, plus a "Smaller String Section and Woodwind Group".
Session: June 18 and July 2 and 15, 1957 - Los Angeles.
Comments: H.R. provides some nice guitar backgrounds. Overall a good album. Also issued as June Christy - Interlude, Discovery DS-911. Many thanks to Alan Weissman for the additional information on the sessions.
Kirby Stone Four - Man I Flipped
1957 - Cadence Records CLP-1023.
Selections: S'Wonderful (Gershwins), Juke Box Dream (Stone-Gardner), It Could Happen To You (Burke-van Heusen), Bluebeard (Hall-Cloth), Reasonably Ugly Chick (Stone-Gardner), Outer Space (Donavan-McKellar-Mulcahy), Get Out Of Town (Porter), Lovable In The Dark (Mooney-Stone), Only Thirty-Three (Stone-Gardner), When You're Cheatin' On Your Baby (Barr-Meyers), Twice As Nice (Lester), I'd Give A Thousand Dollars (Stone-Gardner).
Personnel: vocals - Kirby Stone, Mike Gardner, Eddie Hall, Larry Foster, trombones - Joe Howard, Milt Bernhardt, George Roberts, woodwinds - Chuck Gentry, Skeets Herfurt, Ted Nash, Harry Klee, Howard Terry, drums - Tommy Romersa, Jack Sperling, vibes and xylophone - Red Norvo, Larry Bunker, bass - Joe Comfort, Rolly Bundock, piano - John Towner, guitar - Howard Roberts.
Session: 1957, L.A.
Comments: Excellent comping with some nice contributions.
Dave Garroway - Matt Dennis - Red Norvo - Some of My Favourites
1957 - RCA-Victor NL 45973, LPM1449 and reissued on RCA/Spain ND 74403.
Selections with H.R.: There's A Small Hotel (Rodgers-Hart), Lush Life (Strayhorn), The End Of A Love Affair (Redding), Hi-Fi Baby (Dennis-Seckler).
Personnel: arrangers - Dennis Farnon, Marty Paich, vocal - Matt Dennis, guitar - Howard Roberts, bass - Clifford Hils, drums - Alvin Stoller, piano - Jimmy Rowles, vibes - Larry Bunker, trumpet - Don Fagerquist.
Session: L.A., Jan. 15, 1957.
Comments : H.R. is part of a group backing up Matt Dennis (composer of Angel Eyes). Not too much guitar - one solo and some ensemble work. CD also has some Red Norvo recordings on it.
Frances Faye - Frances Faye Sings Folk Songs
1957 - Bethlehem BCP-6017, reissued on CD in 1999 on Bethlehem Archives.
Selections: Frankie and Johnny, Greensleeves, Skip To My Lou, Lonesome Road, Medley (Nobody Knows The Trouble I've Seen, Deep River, Goin Home), Johnny Has Gone For A Soldier, St. James Infirmary, Go 'Way From My Window, The Three Ravens, Clementine, Medley (Oif'n Pripitchik, Too-ra-loo-ra-loo-ral, Come Back To Sorrento), John Henry.
Personnel: Russ Garcia arranging and conducting, guitar - Howard Roberts, bass - Max Bennett, drums - Mel Lewis, trombone - Herbie Harper, Frank Rosolino, Lloyd Ulyate, Milt Berhart, trumpet - Don Fagerquist, Maynard Ferguson, Jimmy Salko and a string section.
Session: February and March, 1957 in Hollywood, CA.
Comments : A very interesting recording. I didn't expect to like this album but its great. Frances Faye was an excellent singer and the guitar is quite prominent. On some of the selections it is the singer, a string quartet, a chorus and the guitar - beautiful. H.R. does a fabulous job. The original recording was reissued on CD in 1999 with 5 additional tracks that are alternate takes of Frankie and Johnny, Lonesome Road, Go 'Way From My Window, Clementine and John Henry. Many thanks to John Paul Hoppe for the CD.
Tasty Dish - Buddy Collette quartet and quintet
1957 - reissued on Fresh Sound 1996
Selections with H.R.: Tasty Dish (B. Collette), I Still Love You (B. Collette), Mrs. Potts (E. Wright), You Better Go Now (R. Graham-B. Reichner).
Personnel: tenor sax, clarinet and flute - Buddy Collette, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Eugene Wright, drums - Bill Richmond.
Session: Radio Recorders Studio, Hollywood, May 14, 1957.
Comments: Excellent.
West Coast Rock and Roll - Volume 1
1957 - Tampa - a collection of early rock and roll released in 1994 on V.S.O.P.
Selections with H.R.: Coquette (Kahn-Lombardo-Green).
Personnel: vocal - Billy Devroe, guitar - Howard Roberts.
The Magic Flute of Herbie Mann
1957 - Verve MGV-8247
Selections with H.R.: Moonlight Serenade (Miller-Parish), Body and Soul (Green), Oodles of Noodles (Dorsey), Stardust (Carmichael-Parish).
Personnel: flute - Herbie Mann, piano - Jimmy Rowles, bass- Buddy Clark, guitar - Howard Roberts, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: Capitol Studios, Hollywood, August 9, 1957.
Comments: Nice guitar solo on Moonlight Serenade. Otherwise just comping but nicely done. Oodles of Noodles and Stardust also appear on the albums Big Band Mann VSP-21, released in 1957, and the CD Herbie Mann - Jazz Masters 56, released in 1996. Moonlight Serenade also appears on the album Big Band Mann. Stardust also appears on the album the Sound of Mann.
Big Band Mann - Herbie Mann
1957 - VSP/VSP-21.
Selections with H.R.: Moonlight Serenade (Miller-Parish), Stardust (H. Carmichael), Contrasts (Oodles of Noodles) (J. Dorsey).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Three tunes from The Magic Flute of Herbie Mann.
Herbie Mann - Jazz Masters 56
1957 - released on CD in 1996.
Selections with H.R. : Oodles of Noodles (J. Dorsey), Stardust (H. Carmichael-M. Parish).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Two tracks from The Magic Flute of Herbie Mann.
Flute 'N Oboe Bud Shank & Bob Cooper
1957 - World Pacific Records WP-1226.
Selections : The Didn't Believe Me (Kern-Rourke), Gypsy In My Soul ( Boland-Jaffe), In The Blue Of The Evening (D'Artega-Adair), I Want To Be Happy ( Youmans-Caesar), Tequila Time (B. Cooper), I Can't Get Started (Duke-Gershwin), Blues For Delilah (B. Cooper), Sunset And Wine (B. Cooper), What'll I Do (I. Berlin)
Personnel : oboe - Bob Cooper, flute - Bud Shank, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores, violins - Eudice Shapiro, Ben Gill, viola - Milt Thomas, cello - Ray Kramer.
Comments : Nice album with some great guitar on several cuts. Gypsy in My Soul, I Want To Be Happy, What'll I Do are part of the release Blowin' Country, Bud Shank and Bob Cooper, Pacific Jazz, 1998.
Jazz West Coast - An Anthology of California Music Volume III
1957 - Pacific Jazz
Selections with H.R. : Sweet Georgia Brown (Bernie-Casey-Pinkard).
Personnel : This selection is by the Bud Shank - Bob Cooper Quintet comprised of: arranger - Bob Cooper, flute - Bud Shank, oboe - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores.
Comments : Similar to the music on Flute N'Oboe. Excellent comping and solo by H.R. Thanks to Adrian Pellew for finding this one. This selection is part of a new release Blowin' Country, Bud Shank and Bob Cooper on Pacific Jazz, 1998.
Buddy DeFranco - Helen Forrest "Black Magic"
1957 - Shamrock Records LP 1801 (on tape).
Selections: Billie's Bounce, September Song, I Had The Craziest Dream, That Old Feeling, Them There Eyes, Taking A Chance On Love, Black Magic, Thou Swell, Falling In Love With Love, Soft Winds, From This Moment On, Who Cares, You Turned The Tables On Me, I Don't Want To Walk Without You, Stella By Starlight.
Personnel : clarinet - Buddy DeFranco, piano - Jimmy Rowles, drums - Frank Devino, bass - Bob Bertel, guitar - Howard Roberts, vibes - Victor Feldman.
Session: L.A., May 1957.
Comments: Good.
Buddy Rich Just Sings
1957 - Verve, reissued 1998.
Selections : Cathy (M. Torme), Between The Devil And The Deep Blue Sea (H. Arlen-T. Koehler). It's Alright With Me (Porter), Over The Rainbow (Arlen-Harburg), You Took Advantage Of me (Rodgers-Hart), Can't We Be Friends (James-Swift), It's Only A Paper Moon (Arlen-Rose-Harburg), Melancholy Baby (Norton-Webster-Burnett), Cheek To Cheek (Berlin), It Don't Mean A Thing If It Ain't Got That Swing (Ellington-Mills), I Hadn't Anyone Till You (Noble), That Old Feeling (Brown-Fain).
Personnel : vocal - Buddy Rich, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, trumpet - Harry "Sweets" Edison, tenor sax - Ben Webster, piano - Paul Smith.
Session : Jan. 31, 1957.
Comments : This is a good recording with lots of great contributions from H.R. and others. An alternate take of Between The Devil And The Deep Blue Sea was issued on Buddy Rich in the Compact Jazz Series in 1987.
Collections - Joe Morello
1957 - Score SLP-4031 (on tape).
Selections: Sweet Georgis Brown, Little Girl, Have You Met Miss Jones?, Ghost Of A Chance, I've Got The World On A String.
Personnel: drums - Joe Morello, bass - Ben Tucker, piano - Gerald Wiggins, vibes - Red Norvo, guitar - Howard Roberts.
Session : L.A. Jan. 3, 1957.
Comments: A fabulous record with some wonderful guitar. It reminds me of the Red Norvo-Tal Farlow recordings. Thanks to Dave Gould for this. Recording also includes some tunes with Art Pepper playing with Red Borvo (these selections were released on the Art Pepper CD Straight Life) but H.R. is not playing on these. These tunes have been released on the Fresh Sound CD FSR-CD 478 Mr. Roberts Plays Guitar, January 2008.
Julie London - Boy on a Dolphin
1957 - London 45-HLU.8414.
Selections: Boy on a Dolphin (Friedhofer-Webster).
Personnel: vocals - Julie London, and the Howard Roberts Orchestra.
Session : L.A., 1957.
Comments: A lovely recording, just Julie and what sounds like two guitars (the Orchestra). This was the theme song to the movie of the same name starring Alan Ladd and Sophia Loren. Many thanks to Keen Butterworth for this.
Ricky/Ricky Nelson
1957 and 1958 - Liberty and rereleased on a single CD by BCD Records BGOCD440 in 1999
Selections on Ricky: Honeycomb (Merrill), Boppin' The Blues (Griffin-Perkins), Be-Bop Baby (Lendhurst), Have I Told You Lately That I Love You? (Wiseman), Teenage Doll (Lendhurst-Lendhurst), If You Can't Rock Me (Jacobs), Whole Lotta Shakin' Goin' On (Williams), Baby I'm Sorry (Scott), Am I Blue? (Askt-Clarke), I'm Confessin' (Dougherty-Reynolds-Neiburg), Your True Love (Perkins), True Love (Porter).
Selections on Ricky Nelson: Shirley Lee (Trammell), Someday (You'll Want Me To Want You) (Hodges), There's Good Rockin' Tonight (Brown), I'm Feelin' Sorry (Clement), Down The Line (Orbison), Unchained Melody (North-Zaret), I'm In Love Again (Domino-Bartholomew), Don't Leave Me This Way (Nelson), My Babe (Dixon), I'll Walk Alone (Styne-Cahn), There Goes My Baby (Kirkland-Burton), Poor Little Fool (Sheeley).
Personnel: vocals and guitar - Ricky Nelson, guitar - James Burton, Howard Roberts, Joe Maphis, Bob Bain, James Kirkland, piano - Ozzie Nelson, Roger Renner, Gene Garf, Don Ferris, bass - George "Bud" DeNaut, Ray Siegel, drums - Earl Palmer, Richie Frost, background vocals - Jordanaires.
Session: 1957 and 1958 respectively in L.A.
Comments: H.R. not really identifiable and session players are not documented.
The Swing's to TV Bob Cooper and Bud Shank
1958 - World Pacific WPM-411.
Selections with HR: When You Wish Upon a Star (Washington-Harline), Put Your Dreams Away (Mann-Weiss-Lowe), Tenderly (Gross-Lawrence), Danny Boy (traditional).
Personnel: flute and alto sax - Bud Shank, oboe, tenor sax and arranger - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Shelly Manne, violins - Eudice Shapiro, Bob Sushel, Jack Pepper, viola - Milt Thomas, cello - Ray Kramer.
Session: January 21, 1958, Capitol Studios, L.A.
Comments: The remaining cuts on this album were also issued on an album called Blowin' Country that did not include H.R. The material from Flute 'N Oboe, Blowin' Country, and the Swing's to TV (plus some other albums that do not include H.R.) have all been reissued on a Mosaic box set Bud Shank & Bob Cooper, Mosaic 10 Select, B2-95069.These four selections all contain some nice contributions from H.R.
Larry Williams - Bad Boy
1958 Specialty SP626, SP634 and reissued on Specialty SPCD 7002, 1988
Selections with H.R.: Dizzy, Miss Lizzy (Williams), Heebie-Jeebies (Jackson-Marascalco), Hootchy-Koo (Williams).
Personnel: piano and vocals - Larry Williams, guitar - Rene Hall, Howard Roberts, baritone sax - Jewell Grant, tenor sax - Plas Johnson, bass - Ted Brinson, drums - Earl Palmer.
Session: February, 19, 1958, Radio Recorder, Hollywood.
Comments: I think the solos are played by Rene Hall, including the characteristic lick on Dizzy, Miss Lizzy.
Perez Prado - Prez
1958 - RCA 74321 26052 (reissued on CD in 1995).
Selections with H.R.: Fireworks (king Guion), Leyenda Mexicana (Prado), Adios Mi Chaparrita (Stewart-Esperon), Leo's Special (Acosta), Maria Bonita ((Lara).
Personnel: guitar - Howard Roberts, Irving Ashby, Vince Terri, Howard Heitmeyer, bass - Tony Reyes, drums - Leo Acosta, piano - Perez Prado, trombone - Ernie Tack, trumpet - Ollie Mitchell, Louis Valizan, Bob McKenzie, Tony Facciuto, Homer Salinas, alto sax - Rene Bloch, tenor sax - Ignacio Maez, Frank Vasquez, baritone sax - Don Robinson, conga - Modesto Duran, bongo - Carlos Vidal.
Session : Hollywood, June 28, 1957.
Comments : Four guitars playing unison lines on these recordings with the King of the Mambo.
Julie Is Her Name - Volume II - Julie London
1958 - Liberty
Selections: Blue Moon (Rodgers-Hart), What Is This Thing Called Love (Porter), How Long Has This Been Going On (Gershwin-Gershwin), Too Good To Be True (Boland), Spring Is Here (Rodgers-Hart), Goody Goody (Mercer-Malneck), The One I Love Belongs To Somebody Else (Jones-Kahn), I'm Lucky (Myrow-De Lange), Hot Toddy (Flanagan), Little White Lies (Donaldson), I Guess I'll Have To Change My Plan (Schwartz-Dietz), I Got Lost In His Arms (Berlin).
Personnel: guitar - Howard Roberts, bass - Red Mitchell.
Comments : Great vocals and fantastic guitar work.
Jazz City Presents ...
1958 - BCP-80
Selections with H.R.: I'm Glad There's You (Maderia-Dorsey).
Personnel:Leader - Russ Garcia, trumpet - Don Fagerquist, violon - Ricky Mariano, Bill Kurasch, viola - Stan Harris, cello - Fred Katz, guitar - Howard Roberts, bass - Bob Enevoldsen, drums - Don Heath.
Comments : Beautiful solos by H.R. and Don Fagerquist on this. Album also contains contributions from Frank Rosolino and a group called "The Swingers". The album was recorded at a club called Jazz City which was closing.
Olay! The New Sound of Ruth Olay
1958 - Emarcy MG 36125
Selections: Singin' In The Rain (Brown-Freed), Slow But Sure (Carter-Hanson), Lover Man (Davis-Ramirez-Sherman), When The Sun Comes Out (Arlen-Koehler), Lucky day (DeSylva-Brown-Henderson), It Never Entered My Mind (Rodgers-Hart), You Make Me Feel So Young (Myrow-Gordon), I Let A Song Go Out Of My Heart (Ellington-Nemo-Mills-Redmond), Love For Sale (Porter), I'm Glad There Is You (Madeira-Dorsey), After You've Gone (Creamer-Layton), I Wanna Be Loved (Green-Rose-Heyman).
Personnel: guitar - Howard Roberts, bass - Red Mitchell, drums - Larry Bunker, flute - Bud Shank, cello - Ed Lustgarten, piano - Bud Motsinger, trombone - Milt Bernhart, George Roberts, Sy Zentner, trumpet - Don Fagerquist, vibraphone - Red Norvo.
Comments : Some nice music on this but not much guitar.
Peggy Lee - Things Are Swingin'
1958 - Capitol ST-1049 (LP).
Selections: It's A Wonderful World (Harold Adamson-Jan Savitt-Johnny Watson), Things Are Swingin' (Peggy Lee-Jack Marshall), Alright, OK, You Win (Mayme Watts-Sid Wyche), Ridin' High (Cole Porter), It's Been A Long, Long Time (Sammy Cahn-Jule Styne), Lullaby In Rhythm (Benny Goodman-Walter Hirsch-Clarence Profit-Edgar Sampson), Alone Together (Harold Dietz-Arthur Schwartz), I'm Beginning To See The Light (Duke Ellington-Don George-Johnny Hodges-Harry James), It's A Good, Good Night (Peggy Lee), You're Getting To Be A Habit With Me (Al Dubin-Harry Warren), You're Mine, You (Johnny Green-Edward Heyman), Life Is For Livin' (Sammy Cahn-Jimmy Van Heusen).
Personnel: conductor - Jack Marshall, saxes - Justin Gordon, George Smith, trumpet - Don Fagerquist, Conrad Gozzo, Manny Klein, trombone - Milt Bernhardt, valve trombone- Bob Enevoldsen, guitar - Howard Roberts, bass - Joe Mondragon, piano - Joe Harnell, drums - Shelly Manne.
Session: May 19 and 25 and 27 and 30, 1958, Los Angeles.
Comments: H.R. is only comping but it is discernible and nicely done. Overall a nice recording. Also recorded during these sessions, but not included in the original LP were Fever (Eddie Cooley-Johnny Davenport, Peggy Lee) on May 19 and You Don't Know (Walter Spriggs) on May 25. Fever does not include guitar, but You Don't Know does. In addition to the original 45 (Capitol F 3998, with "Fever" on the A side), the song has turned on Peggy's LP "All Aglow Again (T 1366, rel. 1960) and in the CD "Bewitching-Lee!: Peggy Lee Sings Her Greatest Hits" (DCC 179, rel. 1999). Many thanks to Ivan Santiago for this information. According to Mitch Holder they were initially going to use the guitar on Fever but for some reason that didn't work so they had H.R. do the finger snaps instead!
Skål - Bert Dahlander Quartet
1958 - Verve MGV-8253.
Selections: How Do You Do (Dahlander), Johnson's Wax (Gibbs), When Lights Are Low (Carter-Williams), Hip Soup (Swenson), But Not For Me (G. and I. Gershwin), Emma (Dahlander), Room 608 (Silver), Ballad Medley: Everything Happens To Me (Adair-Dennis), Moonlight in Vermont (Suesdorf-Blackburn), Flamingo (Grouya-Anderson).
Personnel: guitar - Howard Roberts, bass - Curtis Counce, drums - Bert Dahlander, vibes - Victor Feldman.
Session: L.A., Sept. 16-17, 1957.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. Great guitar and music generally. A real find! Perhaps his best outing as a bebop jazz guitarist.
Jazz Loves Paris - Buddy Collette
1958 - Specialty - CD - reissued in 1991.
Selections: I Love Paris (C. Porter), Pigalle (G. Ulmer-G. Konyn- C. Newman , La Vie En Rose (E. Piaf-M. David-Louiguy), Darling, Je Vous Aime Beaucoup (A. Sosenko), Mam'selle (M. Gordon-E. Goulding), C'est Si Bon (A. Hornez-J. Seelen-H. Betti), Domino (J. Plante-D. Raye- L. Ferrari), Song from the Moulin Rouge (Where Is You Heart) (Auric-Engvick), The Last Tim I Saw Paris (O. Hammerstein-J. Kern), Under Paris Skies (J. Drejac-K. Gannon-H. Giraud), Darling, Je Vous Aime Beaucoup, (Take 1-alternate), Mam'selle (Take 2 Alternate), The Last Time I Saw Paris (Take 3 - alternate), La Vie En Rose (Take 1 - alternate).
Personnel: alto and tenor sax - Buddy Collette, trombone - Frank Rosolino, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond, Bill Douglass, tuba - Red Callender.
Session: L.A. Jan. 24, 1958.
Comments: Great guitar!
Shorty Rogers Swings
1958 - Bluebird - CD - reissued in 1990.
Selections: Chances Are (A. Stillman-R. Allen), No Such Luck (A. Stilman-R. Allen), It's Not For Me To Say (A. Stilman-R. Allen), Lilac Chiffon (P. Hayes-R. Allen), I Just Don't Know (R. Allen-J. Stone), Who Needs You (A. Stilman-R. Allen), Everybody Loves A Lover (R. Allen-R. Adler), Come To Me (R. Allen-P.Hayes), My Very Good Friend In The Looking Glass (A. Stilman-R. Allen), You Know How It Is (A. Stilman-R. Allen), A Very Special Love (R. Allen), Teacher, Teacher (A. Stilman-R. Allen), My Shining Hour ( J. Mercer-H. Arlen), Get Happy (T. Koehler-H. Arlen), Blues In The Night ( J. Mercer-H. Arlen), Lets Fall In Love (T. Koehler-H. Arlen), That Old Black Magic (J. Mercer-H. Arlen).
Personnel: trumpet - Shorty Rogers, Pete Condoli, Conti Condoli, Al Porcino, Don Fagerquist, Oliver Mitchell, Ray Triscari, Buddy Childers, Carrol Lewis, Ray Linn, alto sax - Bud Shank, Paul Horn, tenor sax - Bob Cooper, Bill Holman, Richie Kamuca, Herb Geller, baritone sax - Charles Gentry, trombone - Harry Betts, David Wells, Ken Shroyer, Bob Enevoldsen, Richard Nash, Frank Rosolino, Marshall Cram, clarinet - Jimmy Giuffre, guitar - Barney Kessel, Howard Roberts, bass - Joe Mondragon, drums - Mel Lewis, piano - Pete Jolly, vibes - Larry Bunker, Red Norvo.
Comments: Howard Roberts is on cuts 5-12. There are some good guitar solos. Barney Kessel is on the remaining cuts.
Sessions, Live: Terry Gibbs, Pete Jolly and Red Norvo
1958 - Calliope CAL3010.
Selections with H.R.: Between the Devil and the Deep Blue Sea, Red Eye, Fascinating Rhythm.
Personnel: alto sa and flute - Bud Shank, vibes - Red Norvo, guitar - Howard Roberts, bass - unknown, drums - Shelly Manne.
Session: Los Angeles, CA, April 21, 1958.
Comments: This is from the TV show Stars of Jazz. Thanks to Dave Gould for this. Jim Harrod, whose information is sound, has informed me that guitarist on this is LP is Jimmy Wyble and not H.R.
Jack Kane - Kane is Able
1958 - Coral 57219.
Selections: St. Louis Blues (W.C. Handy), I'm Getting Sentimental Over You (N. Washington-G. Bassman), Clare's Tune (J. Kane), Carioca (G. Kahn- V. Youmans-E. Eliscu), Wouldn't It Be Loverly (A. Lerner-F. Loewe), The Sound Of The Blues (J. Kane), Lazy River (H. Carmichael-S Arodin) with an interploation of Tea For two (V. Youmans-I. Caesar), Some Of These Days (S. Brooks), Jane's Jump (J. Kane), It's A Lonesome Old Town (H. Tobias-C. Kisco), The Alfern Song (J. Kane), Poor Butterfly (R. Hubbell-J. Golden).
Personnel: conductor and arranger - Jack Kane, trumpet - Conrad Gozzo, Don Fagerquist, Frank Beach, Don Palladino, Uan Rasey, saxes - Bud Shank, Herb Geller, Georgie Auls, Justin Gordon, Chuck Gentry, Phil Sobel, Jack Dumont, Red Nash, Ronnie Lang, Champ Webb, Vic Garber, trombones - Tommy Pederson, Joe Howard, George Roberts, P. Tanner, F. Rosolino, Sy Zentner, french horn - John Graas, tuba - Red Callender, flutes - Jules Kinsler, Gene Cipriano, bassoon - Lloyd Hildebrand, clarinet - F. Falensky, bass - Red Mitchell, drums - A. Stoller, piano - P. Smith, vibes - Larry Bunker, guitar - Howard Roberts, percussion - L. Singer and also 24 strings.
Session: L.A., Oct. 30, Nov. 2, 1958.
Comments: Excellent album. H.R. makes some nice contributions. Jack Kane was from Toronto and graduated with a degree in Music from the University of Toronto. He was well-known in Canada during the late 50's as he had a popular show on the CBC called the Music Makers. Some of this is documented in They Loved to Play, Memories of the Golden Age in Canadian Music by Murray Ginsberg, Eastend Books, 1998 which discusses the history of the Canadian music industry. Kane went to work as a music director for a Edie Gorme-Steve Lawrence television show which is when this recording was made. He died quite young in 1961. The Jack Kane composition The Sound of the Blues is particularly good. I got this recording on tape from the National Library of Canada with the kind permission of Universal Music.
Allan Kane, the son of Jack Kane, supplied me with the information that this recording was nominated for a Grammy in 1958 in the category Best Orchestra Performance.
Merrill Moore - Boogie My Blues Away
1958 - only issued in 1990 on Bear Family Records as a double CD.
Selections: South, Sentimental Journey, Shanty In Old Shanty Town, Sweet Georgia Brown, Moore Blues, Nobody's Sweetheart, Jumpin' At The Woodside, Somebody Stole My Gal, Lazy River.
Personnel: piano - Merrill Moore, guitar - Howard Roberts, bass - Morty Korb, drums - Ted Kovar.
Comments: I've only listed the selections where Howard Roberts plays.
Claude Williamson mulls the Mulligan with his twin Jazz Pianos and Trio
1958 - Fresh Sound Records FSR-CD 54.
Selections : All compositions by Gerry Mulligan. Walkin' Shoes, Limelight, Westwood Walk, A Ballad, Utter Chaos, Bark For Barksdale, Simbah, Blue At The Roots, Apple Core, Line For Lyons, Ontet.
Personnel : piano - Claude Williamson, guitar - Howard Roberts, bass - Red Mitchell, drums - Stan Levey.
Comments : A very nice album.
Harry Belafonte Sings the Blues
1958 - RCA LOP-1006.
Selections with H.R.: Losing Hand (Calhoun) Cotton Fields (Carter), God Bless the Child (Smith), Sinner's Prayer (Fulson), Mary Ann (Charles), Hallelujah I Love Her So (Charles), A Fool For You (Charles).
Personnel: vocal - Harry Belafonte, trumpet - Don Fagerquist, trombone - Milt Berhart, tenor sax - Bumps Meyers, Plas Johnson, piano - Jimmy Rowles, guitar - Millard Thomas, Laurindo Almeida, electric bass - Howard Roberts, bass - Red Callender, drums - Jack Sperling.
Session: Hollywood, June 5 and 7, 1958.
Comments: H.R. on electric bass.
Moviesville Jazz - Heinie Beau and His Hollywood Jazz Stars
1958 - Coral CRL 57247.
Selections with H.R.: All compositions by Heinie Beau, Scotland Yardbird, In Your Private Eye, The Man With The Golden Embouchure, The Tattooed Street Car Named Baby, Under The Blowtop, The Cool Tin Roof Story.
Personnel: trumpet - Don Fagerquist, French horn - John Graas, clarinet, alto sax, flute - Heinie Beau, flute, tenor sax, clarinet - Buddy Collette, bass sax, baritine sax, bass clarinet - Chuck Gentry, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond.
Session: L.A. June 30, 1958.
Comments: Some nice solos by H.R. on this one.
The Diamonds Meet Pete Rugolo
1958 - Mercury 20368.
Selections : Wrap Your Trouble In Dreams, Baby Won't You Please Come Home, The Best Things In Life Are Free, Ain't Misbehavin', Until The Real Thing Comes Along, I'll Always Be In Love With You, Will You Still Be Mine, Tenderly, For All We Know, One For My Baby, Lulu's Back In Town, You'll Never Walk Alone.
Personnel : The Pete Rugolo Orchestra but no personnel are listed on the album. According to one of the Diamonds (Mike Douglas), who communicated this information to Barry Worrell, Howard Roberts was a member of the orchestra for this recording.
Comments : The Diamonds were a famous, popular singing group during the 50's perhaps best known for their hit Little Darlin. They hailed from Ontario. For a web-site on the Diamonds see Barry Worrell, who also supplied this tape. On this album they sing jazz songs and do a pretty good job. H.R. can be heard One For My Baby.
Chet Atkins in Hollywood
1958 - reissue of the original RCA recording by Classic Compact Disc LSPDC 1993.
Selections : Armein's Theme, Let it be Me, Theme from Picnic, Theme from a Dream, Estrellita, Jitterbug Waltz, Little Old Lady, Limelight, The Three Bells, Santa Lucia, Greensleeves, Meet Mr. Callaghan.
Personnel : Chet Atkins and the Dennis Farnon Orchestra, guitar - Chet Atkins, Howard Roberts, violin - Jacques Gasselin, Sam Albert, Eudice Shapiro, Gerlad Vinci, Jack Shulman, viola - Cecil Figelski, Joseph DiFiore, Milton Thomas, Virginia Majewski, Alexander Neiman, cello - Edger Lustgarten, Victor Gottlieb harp - Kathryn Julye, horn - John Cave, piano - Geoffrey Clarkson, bass - Cliff Hills, George Calender, drums - Jack Sperling, Larry Bunker.
Session: October 23, 1958.
Comments : This photo shows Chet with H.R. at the session. H.R. is only comping although it is quite noticeable on Jitterbug Waltz.
Keely Smith - Politely
1958 - Capitol ST 1073.
Selections: Sweet and Lovely (Arnheim-Tobias-Lemare), Cocktails for Two (Johnston-Coslow), The Song is You (Kern-Hammerstein II), I'll Get By (Ahlert-Turk), Lullaby Of The Leaves (Petkere-Young), On the Sunny Side of the Street (McHugh-Fields), East Of The Sun (And West Of The Moon) (Bowman), I Can't Get Started (Duke-Gershwin), I'll Never Smile Again (Ruth Lewis), S'posin (Denniker-Razaf), All the Way (Cahn), I Never Knew (I Could Love Anybody Like I'm Loving You) (Pitts-Egan-Marsh).
Personnel: vocal - Keely Smith, leader - Billy May, contractor - David Klein , producer - Voyle Gilmore, guitar - Howard Robert, bass - Ralph Pena, percussion - Larry Bunker, drums - Irving Cottler, piano - Paul T. Smith, harp - Veryle Mills, saxophone - Justin Gordon, saxophone - Jules Jacob, saxophone - Harry Klee, saxophone - Wilbur Schwartz, trombone - Francis Howard, trombone - Ed. Kusby, trombone - Murray McEachern, trombone - Sy Zentner, trumpet - Uan Uasey, cello - Edgar Lustgarten, cello - Kurt Reher, viola - Alvin Hinken, viola - Paul Robyn, violin - Victor Arno, violin - Israel Baker, violin - Ben Gill, violin - Dan Lube, violin - Erno Neufeld, violin - Lou Raderman, violin - Paul Shure, violin - Marshall Sosson.
Session: June 30th. 1958. (6.00pm./9.30pm.) Capitol Tower, 1750 North Vine Street, Hollywood.
Comments: Not much guitar but great vocals.
Invitation - Guitars Inc.
1958 - Warner Bros. B-1206.
Selections: Lets Get Away From It All (Gennis-Adair), The Bad and The Beautiful (Raskin), Lullaby Of Broadway (Dubin-Warren), Lullaby Of the Leaves (Petkere-Young), Darn That Dream (Van Heusen-DeLange), My Heart Belongs To Daddy (Porter), Invitation (Kaper), All The Things You Are (Kern-Hammerstein II), Chloe (Kahn-Morel), Pick Yourself Up (Kern-Fields), `Tis Autumn (Nemo), The Guitars Inc. (Corb).
Personnel : guitar - Howard Roberts, Bob Bain, Tom Tedesco, Al Hendrickson, Tony Rizzi, Dano bass - Bill Pitman.
Session: 1958.
Comments: Nice record. Thanks to Mitch Holder for this.
Ernestine Anderson - Toast of the Nation's Critics
1958 - Mercury SR 60074
Selections: Runnin' Wild (Gibbs-Grey-Wood), Stardust (Carmichael-Parish), Heat Wave (Berlin), My Ship (Weil-Gershwin), Azure-Te (Davis-Wolf), Welcome to The Club (Torme), There's A Boat Dat's Leavin' Soon For New York (Gershwin-Gershwin), Social Call (Gryce-Hendricks), There Will Never be Another You (Warren-Gordon), A Sleepin' Bee (Arlen-Capote), Interlude (Rugolo-Russell).
Personnel: Orchestra arranged and conducted by Pete Rugolo, alto sax and flute - Bud Shank, flute - Buddy Collette, guitar - Howard Roberts, drums - Shelly Manne and many others.
Session: L.A., 1958.
Comments: A few nice guitar solos on this.
Troyce Key
1958-59 Warner Bros. 5007.
Selections: Drown In My Own Tears (Glover), Baby Please Don't Go (Gardner-Key).
Personnel: vocal - Troyce Key, guitar - Howard Roberts, Eddie Cochran, drums - Earl Palmer.
Session: L.A.
Comments: Nice solo on Baby Please Don't Go but I don't think this is H.R. (too rockabilly) probably Eddie Cochran.
Soft and Subtle - Guitars Inc.
1959 - Warner Bros. B-1246.
Selections: El Cumbanchero (Rafael Hernandez), Hajji Baba (Tiomkin-Washington), Lazy Afternoon (Moross-La Touche), In an Eighteenth Century Drawing Room (Lawrence-Scott), Nature Boy (Ahbez), Get Happy (Arlen-Koehler), Snowfall (Thornhill), It Don't Mean a Thing (Ellington-Mills), Oasis (Corb), Our Waltz (Rose), Paganini's Progress (Harris), Good-bye (Jenkins).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: H.R. is identified as Bob Howe on this! Excellent record.
Guitars Inc. - Guy Dad, It's Early
1959 - Warner Bros. 9-5049 45rpm.
Selections: Guy Dad, It's Early (M. Corb), El Cumbanchero (Rafael Hernandez).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: El Cumbanchero also appears on the album Soft and Subtle but Guy Dad, It's Early isn't on any of the Guitars Inc. albums.
Guitars at Christmas - Guitars Inc.
1959 - Warner Bros. B-1340.
Selections: Jingle Bells, First Noel, Santa Claus Is Coming To Town (Gillespie-Coots), Caroling, Caroling (Hutson-Burt), God Rest Ye Merry Gentlemen, The Star Carol (hutson-Burt), Deck The Halls, Winter Wonderland (Smith-Bernard), O Little Town Of Bethlehem, Sleigh Ride (Parish-Anderson), Silent Night, Rudolf The Red-Nosed Reindeer (J. Marks), Some Children See Him (Hutson-Burt), Come, Dear Children (Hutson-Burt), Come All Ye Faithful, White Christmas (I. Berlin).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: Thanks to Jay Smith for this.
Clarinet Portrait - Jerry Fuller Sextet
1959 Andex A 3008.
Selections: I'm Getting Sentimental Over You (Bassman-Washington), That's A Plenty (Pollack-Gilbert), Minor Epic (Estes) On Green Dolphin Street (Kaper-Washington), Judy (Carmichael-Lerner), Somebody Loves Me (Gershwin-MacDonald-De Silva), Makin' Whoopee (Donaldson-Kahn), Raz-Ma-Tazz (Florence), Benny's Idea (Fuller), Georgia on My Mind (Carmichael-Gorrell).
Personnel: clarinet - Jerry Fuller, guitar - Howard Roberts, piano - Bob Florence, drums - Frank Capps, vibes - Gene Estes, bass - Mel Pollan.
Session: L.A., Rex Productions, March 17, 19, 20 1958.
Comments: Music like Benny Goodman. Quite good and excellent contributions from H.R.
Gary Crosby - The Happy Bachelor
1959 - Verve MV 2664.
Selections: The Happy Bachelor (Mercer-DePaul), I've Got My Love To Keep Me Warm (Berlin), Manana (Lee-Barbour), I'll Never Be Free (Weiss-Benjamin), Old Buttermilk Sky (Carmichael-Brooks), You Won't Be Satisfied Until You Break My Heart (James-Stock), Side by Side (Woods), Undecided (Shavers-Robin), I'm Begining to See the Light (James-Ellington-Hodges-George), Glow Worm (Linck-Mercer), Into Each Life Some Rain Must Fall (Roberts-Fisher), This Little Girl of Mine (Charles).
Personnel: vocals - Gary Crosby, trumpet - Pete Candoli, vibes - Gene Estes, piano - Paul Smith, bass - Joe Mondragon, guitar - Howard Roberts, drums - Larry Bunker, Bill Richmond.
Session: L.A. April 8, 9, 10, 1959.
Comments: Some excellent contributions by H.R. on this.
Ricky Nelson - Ricky Sings Again
1959 - Imperial LP - 9061
Selections with H.R.: It's All In The Game (Dawes-Sigman), Restless Kid (Johnny Cash).
Personnel: vocals and guitar - Rick Nelson, guitar - James Burton, Howard Roberts, Billy Strange, piano - Gene Garf, bass - George "Bud" DeNaut, drums - Earl Palmer, background vocals - Jordanaires.
Session: September 2, 1958 at Master Recorders, Los Angeles.
Comments: This album was released again on CD (Capitol 72435-32451-2-2) along with the album Songs by Ricky. James Burton plays some great guitar. H.R. is not really discernible.
Bobby Enevoldsen Smorgasbord
1959 - Liberty LJH 6008.
Selections: Ding, Dong The Witch Is Dead (Arlen-Harburg), Swingin' On A Star (Burke-Van Heusen), Swinger's Dream (Mac Dougald), My Ideal (Robin-Whiting-Chase), How Low The Tune (Troup-Enevoldsen), John's Jumble (Enevoldsen), You're In Love (B. Troup), Thinking Of You (Kalmar-Ruby), No Time For Love (Davidson), Mr Know It All (B. Troup), Oh! Look At Me Now (John DeVries), Bob's Boy (Bob Gordon).
Personnel: guitar - Howard Roberts, bass - Bob Enevoldsen, Red Mitchell , drums - Don Heath, Larry Bunker, piano - Marty Paich, Red Mitchell, tenor sax and valve trombone - Bob Enevoldsen.
Session: L.A. Nov. 25, 29 1959.
Comments: Nice album and good guitar. H.R. plays a nice solo on Ding, Dong The Witch Is Dead reaffirming my belief that he could solo effectively on almost anything.
Rugolo Plays Kenton
1959 - Mercury MG-C36143.
Selections: Eager Beaver (Kenton), Painted Rhythm (Kenton), Minor Riff (Kenton), Concerto For Doghouse (Kenton), Sunset Tower (Kenton), Concerto To End All Concertos (Kenton), Artistry In Rhythm (Kenton), Opus In Pastels (Kenton), Theme To The West (Kenton-Rugolo), Artistry In Boogie (Kenton-Rugolo), Capitol Punishment (Kenton-Rugolo)
Personnel: trumpets - Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist; trombones - Milt Bernhart, Frank Rosolino, Harry Betts, Kenny Shroyer; saxes - Bud Shank, Harry Klee, Bob Cooper, Dave Pell, Chuck Gentry; bass - Red Callender; piano - Claude Williamson; drums - Shelly Manne; guitar - Howard Roberts.
Session: L.A. Oct. 25, 26, Nov. 15, 24, 1958.
The Jazz Sound From Peter Gunn
1959 - RCA but reissued on Fresh Sound FSCD 2009.
Selections: (all compositions by H. Mancini), Peter Gunn, Blue Steel, The Brothers Go To Mother's, Session At Pete's Pad, Walkin' Bass, Dreamsville, The Little Man Theme, Sorta Blue, Goofin' At The Coffee House, A Quiet Gass, A Profound Gass, Fallout!, Lightly, Soft Sounds, Odd Ball, The Floater, Blues For Mother's, Brief And Breezy, Joanna, My Manne Shelly, Spook!, A Ball For John, Goofin' At The Coffee House (2nd), Not From Dixie.
Personnel: arranged by Maxwell Davis, Pete Candoli, Bob Florence, trumpets - Pete Candoli, Conte Candoli, Don Fagerquist trombones - Milt Bernhart, Frank Rosolino, Dave Wells, saxes - Bud Shank, Ted Nash, Ronnie Lang, Dick Nash, bass - Red Mitchell, piano - Henry Mancini, Jimmy Rowles, John T. Williams, Russ Freeman, drums - Shelly Manne, Frank Capp, percussion - Emil Richards, guitar - Howard Roberts, Tony Rizzi, vibes - Larry Bunker.
Session:
Comments: Excellent album with many contributions from H.R. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Homage - The Georgie Auld Sextet with Howard Roberts
1959 - released on CD Xanadu 1994.
Selections: Good Enough To Keep, On The Alamo (Kahn-Jones), Seven Come Eleven (Goodman-Christian), Soft Winds (Goodman-Henderson), Wholly Cats (B. Goodman), Flying Home (B. Goodman-L. Hampton), Benny's Bugle (B. Goodman-J. Bushkin), Rose Room (Hickman-Williams), A Smooth One (B. Goodman-C. Christian-Mundy), Sweet Lorraine (Burwell-Parish), I Found A New Baby (Palmer-Williams), Scarecrow (B. Goodman).
Personnel : guitar - Howard Roberts, tenor saxophone - Georgie Auld, trumpet - Don Fagerquist, piano - Lou Levy, vibes - Larry Bunker, bass - Leroy Vinegar, drums - Mel Lewis.
Session: Sept. 5, 1959.
Comments: Great playing! Interesting to hear H.R. play some Charlie Christian licks! Many thanks to Dave Gould for this (see above under Jazz Studio Two).
Googie René presents Romesville
1959 - Class CS-LP-5003 (also as Rendezvous S-1313)
Selections: Romesville (L. René-R. René), Cool It at the Coliseum (R. René), Serenade in the Night (Bixio Cherubini), Flippin' the Pizza (R. René), Come Back to Sorrento (E. and G.B. Curtis), Caesar's Pad (L. René-R. René), Cafe Roman Candle (R. René), Rebecca (Jeanne Vikki), Cherry Ferrari (R. René), Farewell To Rome (L. René).
Personnel: trumpets - Gerald Wilson, Conrad Gozzo, Mickey Mangano, John Audino, John Anderson, trombones - John Ewing, Vern Friley, Lester Robinson, reeds - Buddy Collette, Plas Johnson, Jackie Kelso, Floyd Turnham, Willies Smith, vibes - Larry Bunker, piano - Rafael Googie Rene, guitar - Howard Roberts, mandolin - Al Viola, Al Hendrickson, bass - Red Callender, drums - Earl Palmer, percussion - Milt Holland, Modesto Duran, Jack Costanzo, arranger - Rene Hall.
Session: 1959, L.A.
Comments: A concept album where the "concept" seems to be a beatnik interpretation of Rome. So lots of bongos! Still not a bad record and H.R. solos on Flippin' the Pizza (backed by Jack Costanzo on bongos) and on Cherry Ferrari.
Two for the Money - Brothers Candoli
1959 - Mercury MG 20515 (on tape).
Selections: Splanky (Hefti), Soak Yo' Sally (Candoli), A-Lue-Cha (Parker), Rifts For Rosie (Candoli), Caravan (Tizol-Ellington-Mills), Take The A Train (Strayhorn), Doodlin (Silver), Willow Weep For Me (Ronell), Blueing Boogie (Gillespie), Richard Diamond Blues (Rugolo)
Personnel : Pete Candoli, Conte Candoli (trumpet), Jimmy Rowles (piano) Max Bennett (bass), Frank Capp (drums), Howard Roberts (guitar).
Session: L.A., 1959.
The Four Freshmen and Five Guitars
1959 - Capitol ST1255, reissued by EMI in 1998 on CD together with The Four Freshmen and Five Saxes.
Selections: Rain, The More I See You, This October, Don't Worry 'Bout Me,It's A Pity To Say Goodnight, Oh Lonely Winter, It All Depends On You, Nancy (With The Laughing Face), I Never Knew, Invitation, I Understand, Come Rain Or Come Shine.
Personnel : arranger - Jack Marshall, vocals - Dick Reynolds, Ross Barbour, Don Barbour, Ken Albers, Bob Flanigan, guitars - Al Hendrickson, Howard Roberts, Bobby Gibbons, Tommy Tedesco, Bill Pitman, George van Eps, Al Viola, Herb Ellis, Barney Kessel, vibes - Larry Bunker, bass - Red Mitchell, drums - Shelly Manne, Jack Sperling.
Session: June 16, 17 1959, Los Angeles.
Comments : The five guitars used varied by track. The album doesn't even list the players. This information came from the book Now You Know - The Story of the Four Freshmen by Ross Barbour, Balboa Books .
It's All Right With Me - Cathy Hayes
1959 - HIFI Record reissued on Fresh Sound Records FSR-CD 55 1989.
Selections: The Angels Sing, Blue Moods, You Smell So Good, Happiness Is Just A Thing Called Joe, Wonder Why, Tangerine, If I Were A Bell, Last Night When We Were Young, Down In The Depths, You Don't Know What Love Is, My Old Flame, You And The Night And The Music.
Personnel : arranger - Barney kessel, vocals - Cathy Hayes, guitars - Barney Kessel, Howard Roberts, vibes - Larry Bunker, bass - Monte Budwig, drums - Shelly Manne, Mel Lewis, trumpet - Conte Candoli, alto sax - Bud Shank, tenor sax - Bill Perkins and Ted Nash, Baritone sax - Justin Gordon, piano - Jimmy Rowles.
Session : L.A., 1959.
Comments : H.R. comps and Barney does the leads, fills etc. Nice album and interesting to have H.R. and Barney Kessel on the same recording.
Swing Song Book - Les Brown and his Band Of Renown
1959 - Coral CRL 757300.
Selections: Swing Book Blues (J. Hill), How High The Moon (N. Hamilton-M. Lewis, Early Autumn (R. Burns-W. Herman-J. Mercer), King Porter Stomp (Jellyroll Morton), Lullaby of Birdland (G. Shearing), Moten Swing (B. Moten-B. Moten), Just In Time (J. Styne-B. Comden-A. Green), I Want To Be Happy (V. Youmans-I. Caesar), Take The ``A" Train (B. Strayhorn), I'm Begining To See The Light (H. James-D. Ellington-J. Hodges-D. Georges), Pick Yourself Up (J. Kern-D. Fields), Lean Baby (B. May-R. Alfred).
Personnel: arrangers - Jim Hill, Wes Hensel, Billy May, trumpets - Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan, Frank Beach, trombones - Dick Kenney, Roy Main, J. Hill, Clyde Brown, reeds - Matt Utal, Ralph La Polla, Bill Usselton, Abe Aaron, Butch Stone, piano - Donn Trenner, bass - Jules Berteaux, drums - Jack Sperling. guitar - Howard Roberts, Tony Rizzi, Allan Reuss.
Session: L.A., Jan. 22, 1959.
Comments: Good big band rhythm guitar.
Les Brown and His Band of Renown
1959 - Coral 9-62085 (45 rpm).
Selections: Boola (R. Sweetwater), Say It With Music (I. Berlin).
Personnel: None listed but probably similar to Swing Song Book as listed above.
Session: Feb. 9-11, 1959, L.A.
Comments: Excellent rhythm playing by H.R.
Marx Makes Broadway "with flute and friends" - Dick Marx
195? - Omega - released on V.S.O.P. in 1985.
Selections: Joey, Joey (F. Loesser), Why Can't You Behave (C. Porter), All Of You (C. Porter), Cool (L. Bernstein), Too Close For Comfort (Holofocner-Weiss), If I Were A Bell (F. Loesser), Baubles, Bangles And Beads (Forrest-Wright), A Sleepin' Bee (F. Loesser), Guys And Dolls (F. Loesser), Just In Time (Comden-Green-Styne).
Personnel : piano - Dick Marx, flute - Buddy Collette, drums - Frank Capp, bass - Red Mitchell and Carson Smith, guitar - Howard Roberts and Irving Ashby.
Comments : Excellent album. H.R. is on 3 cuts and Irving Ashby on 5. The album notes don't identify which are which but my guess is H.R. on All Of You, If I Were A Bell and Just In Time.
Swingin' Hi ... Fi - Al Anthony, Wizard of the Organ
195? - Liberty LST 7021.
Selections: Vanessa (Fisher-Fisher), Carmelita (P. Faith), I Can't Believe That You're in Love with Me (McHugh-Gaskill), Camptown races (Foster), Tropical Merengue (Munoz), Baia (Golbert-Barrosa), Sabre Dance (Khatchaturian), You're Driving Me Crazy (Donaldson), Ebb Tide (Maxwell), Everything I've Got (Belongs To You) (Rodgers-Hart), Swingin' Hi (Al Anthony), Eleanora (Arendo).
Personnel : organ - Al Anthony, drums - Mel Lewis, bass - Buddy Clark, guitar - Howard Roberts.
Comments : H.R. contributes a bit.
Listen to the Music of Russell Garcia and His Orchestra
195? Kapp Records KL-1050.
Selections: Worry-Go-Roun
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The Archives Center makes its collections both physically and intellectually accessible. Although not all collections are fully processed and described in a finding aid, a catalog entry for each collection is found in Collections Search Center, an online catalog containing most of the Smithsonian's major collections from our museums, archives, libraries, and research units.
Finding aids are much more detailed, listing the contents of the collection, usually to the folder or box level and, occasionally, the item level. Many Archives Center collections have on-line finding aids with digital content which are available through Smithsonian Online Virtual Archives (SOVA). SOVA provides integrated access to descriptions and detailed inventories of thousands of primary resource collections maintained by archival units across the Smithsonian.
Researchers are encouraged to conduct a Collections Search Center and SOVA search prior to contacting the Archives Center for additional information about the collections or to schedule an appointment.
Archives Center Collections
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z
A
Accessible Snowboard Collection, 1996-2000, NMAH.AC.0747
Account Book, 1872-1874, NMAH.AC.0291
Accoutrements/Archie McPhee Catalogs, 1985-2003, NMAH.AC.0837
Joe Adams Papers, 1948-2003, NMAH.AC.0908
Samuel Adams Papers, 1862-1933 (bulk 1862-1865), NMAH.AC.1310
Adaptive Mobility Oral History Collection, 2015-2014, NMAH.AC.1359
Richard Adlard Collection, 1936-1998, NMAH.AC.0692
Charles Adler, Jr., Collection, 1899-1980, NMAH.AC.0351
Solomon Adler Papers, 1916-1980, bulk 1950-1966, NMAH.AC.1157
"Adventures in Science" Radio Programs, 1955-1956, NMAH.AC.0223
Advertising Council 1990 Census Advertising Collection, 1990, NMAH.AC.0372
African American Cosmetic and Food Label Collection, 1934-1946, NMAH.AC.0480
African American Family Photographs, circa 1900-circa 2000, NMAH.AC.1127
African American Portrait Tintypes, circa 1865-1900, NMAH.AC.0515
African American Snapshots, 1929-1933, NMAH.AC.0732
Agriculture & Brick Account Book, 1824-1846, NMAH.AC.0057
G. W. Aimar Drug Company Records, 1864-1972, NMAH.AC.0810
Aladdin Industries Inc. Records, 1889-2003, NMAH.AC.0844
Alabama Mining Institute Photographs, NMAH.AC.1004
Albany Billiard Ball Company Records, 1870-1974, NMAH.AC.0011
Walter S. Albano Papers, 1983-1014, NMAH.AC.1599
William H. Albro Store Ledgers, 1845-1895, NMAH.AC.0166
Tony Alderman Country Music Collection, 1927-1983, NMAH.AC.0211
Alka-Seltzer Documentation & Oral History Collection, 1953-1986, NMAH.AC.0184
Alexander Alland, Sr., Photo Print Collection, 1932-1943, NMAH.AC.0204
Alexander Binder Company Records, 1903-1965, bulk 1921-1955, NMAH.AC.1100
E. Lewis Allen Papers, 1925-1949, NMAH.AC.1528
Horatio Allen Papers, 1840-1872, NMAH.AC.1447
Ally and Gargano, Inc., Print Advertisements, 1962-circa 1995, NMAH.AC.0938
American Academy of Environmental Engineers "Excellence in Environmental Engineering" Awards Collection, 1988-2006, NMAH.AC.0591
American Bank Note Company Records, 1860-1987, NMAH.AC.1285
American Family Photographs Collection, circa 1996-1997, NMAH.AC.0636
American Furniture Industries Survey Collection, 1978-1980, NMAH.AC.0286
American Institute Science Laboratory Collection, circa 1941-2006, NMAH.AC.1380
American Institute of Steel Collection, circa 1939-1945, NMAH.AC.1520
American National Standards Institute -- X3L2 Committee Records, 1969-1979, NMAH.AC.0311
American Petroleum Institute Photograph and Film Collection, 1860s-1980s, NMAH.AC.0711
American Public Power Association Collection on Public Utilities, 1950-1982, NMAH.AC.1337
American Public Works Association "Top Ten Public Works Projects of the Century -- "1900-2000" Nominations, 1999-2000, NMAH.AC.0983
American Relief Administration, European Children's Fund Collection, 1919-1921, NMAH.AC.1199
American Scale & Service Company Records, 1912-1956, NMAH.AC.0010
American Society of Civil Engineers Fellows Collection, 1929-1969, NMAH.AC.0229
American Society of Civil Engineers Oral Histories, 1963-1992, NMAH.AC.1521
American Society of Mechanical Engineers Collection, 1970s-1990s, NMAH.AC.1522
American Institute of Steel Collection, circa 1939-1945, NMAH.AC.1520
American Wine Documentation Project, 1976-2013, NMAH.AC.0817
AMF Automatic Pin Spotter Records, 1947-1996, NMAH.AC.0823
Analogue Music Synthesizer Oral History Project, 1996-1998, NMAH.AC.0640
Anchor Brewing Company Records, 1907-2023, bulk 1965-2010, NMAH.AC.1591
Harold M. Anderson Black Wall Street Film Collection, 1948-1952, NMAH.AC.1197
John R. Anderson Piano Trade Literature Collection, circa 1850-1990, NMAH.AC.1257
William "Cat" Anderson Collection, 1940-1981 (primarily 1963-1977), NMAH.AC.630
John-Manuel Andriote HOT STUFF: A BRIEF HISTORY OF DISCO Collection, 1976-2001, NMAH.AC.1184
John-Manuel Andriote Victory Deferred Collection, 1901-2008 (bulk 1995-1999), NMAH.AC.1128
Dr. Edward H. Angle Orthodontics Papers, 1893-1940, NMAH.AC.0724
Anglo-American Telegraph Company, Ltd. Records, 1866-1947, NMAH.AC.0073
Apostoloff Telephone Literature, 1895-1930, NMAH.AC.0581
William K. Applebaugh Papers, 1857-1926, NMAH.AC.0638
Archives Center 1968 Olympic Games Collection, 1968, NMAH.AC.1402
Archives Center 2002 Winter Olympics Collection, 2002, NMAH.AC.0806
Archives Center Advertising Hand Fan Collection, 20th Century, NMAH.AC.0809
Archives Center American Music Collection, circa 1950 to present, NMAH.AC.0795
Archives Center Brewing History Collection, 1968, NMAH.AC.1419
Archives Center Business Americana Collection, circa 1900-present, NMAH.AC.0404
Archives Center Carousel Collection, 1925-1994, NMAH.AC.0675
Archives Center Collection of Music Transcriptions of Duke Ellington, 1988-1989, undated, NMAH.AC.0430
Archives Center Cookbook Collection, 1920-2004, NMAH.AC.0510
Archives Center Ethnic Imagery Collection, 1889 and undated, NMAH.AC.1138
Archives Center Glass Plate Collection, circa 1910-1920, NMAH.AC.0246
Archives Center Lantern Slide Collection, circa 1890-1920, NMAH.AC.0686
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, 1915-2020, bulk 1960-2019, NMAH.AC.1146
Archives Center Menu Collection, 1937-1999, NMAH.AC.1391
Archives Center Miscellaneous Film and Videotape Collection, 1930-1978, NMAH.AC.0358
Archives Center National Film Preservation Foundation Industrial Film Collection, 1914-1917, NMAH.AC.1435
Archives Center Photo Print Collection, circa 1870-1880, NMAH.AC.0496
Archives Center Portrait Collection, 19th-20th centuries, NMAH.AC.0392
Archives Center Postcard Collection, 20th-21st centuries, NMAH.AC.0483
Archives Center Poster Collection, 1910s-2016, NMAH.AC.0751
Archives Center Poster Stamp Collection, circa 1890s-1960s, NMAH.AC.1125
Archives Center Road Maps Collection, NMAH.AC.1295
Archives Center Scrapbook Collection, circa 1880s-2002, NMAH.AC.0468
Archives Center Shopping Bag Collection, circa 1980-2004, NMAH.AC.0570
Archives Center Sports Memorabilia Collection, circa 1970 to present, NMAH.AC.0796
Archives Center Stereograph Collection, circa 1910, NMAH.AC.0495
Archives Center Weddings Documentation Collection, 1945-2010, NMAH.AC.1131
Archives Center Wild West Collection, 1884-1917, NMAH.AC.1466
Archives Center World Expositions Collection, 1873-2010, NMAH.AC.0825
Archives of American Art Miscellany, circa 1933-1945, NMAH.AC.0850
Arden Family Papers, 1884-1950, NMAH.AC.0285
Clotilde Arias Papers, 1920, 1956, NMAH.AC.1164
James Arkatov Collection of Jazz Photographs, 1995-2003, NMAH.AC.1229
Alfredo "Chocolate" Armenteros Papers, 1920-2016, NMAH.AC.1430
Paul Armer Collection, 1949-1970, NMAH.AC.0323
Louis Armstrong Music Manuscripts, undated, NMAH.AC.0904
W. L. Armstrong Washingtoniana Glass Negative Collection, 1865-1885, NMAH.AC.0183
James Arthur Clock and Watch Collection, 1743-1967, NMAH.AC.0130
Artie Shaw "Begin the Beguine" Music Manuscripts, 1938, NMAH.AC.1381
Association for Computing Machinery, Washington, D.C. Chapter, Collection, 1958-1978, NMAH.AC.0462
Association of Hispanic Advertising Agency Papers, 1962-1995, NMAH.AC.1343
AT&T/Bell Film Collection, 1942-1978, NMAH.AC.0684
Atlas Imperial Engine Company Records, 1917-1968, NMAH.AC.0996
Charles Atlas Records, circa 1909-1998, NMAH.AC.0654
Atomic Clocks Reference Collection, undated, NMAH.AC.1265
Mike Augspurger Innovative Lives Presentation and Oral History, 1998; 2000; 2001, NMAH.AC.0689
N W Ayer Advertising Agency Records, 1849-1851, 1869-1996, NMAH.AC.0059
Waldemar A. Ayres Collection, 1954-1974, NMAH.AC.0077
B
Alfons Bach Papers, 1934-1992, NMAH.AC.1272
Emile Bachelet Collection, 1880s-1973, NMAH.AC.0302
Sandra & Gary Baden Collection of Celebrity Endorsements in Advertising, 1897-1979, NMAH.AC.0611
Leo H. Baekeland Papers, 1881-1968, NMAH.AC.0005
Ralph Baer Innovative Lives Presentation, August 15, 2009, NMAH.AC.1179
Ralph H. Baer Papers, 1943-2006, NMAH.AC.0854
Robert Bagby Stereographs and Lantern Slides, 1919-1970, NMAH.AC.1185
Anders K. Bak Papers, 1917-1970 (bulk 1920s), NMAH.AC.1065
Frances S. Baker Product Cookbooks, circa 1900-1993, NMAH.AC.0612
Baldwin Locomotive Works Engine Registers and Orders, 1833-1956, NMAH.AC.0157
Baldwin Locomotive Works Drawings, 1870-1890, NMAH.AC.0353
Baldwin Locomotive Works Scrapbooks, 1867-1929, NMAH.AC.1181
Baldwin Southwark Corporation Records, circa 1868-1945, NMAH.AC.1107
Baltimore Gas and Electrical Pratt Street Station Collection, 1920s-1940s, NMAH.AC.1523
Baltimore and Ohio Railroad Collection, circa 1826-1943, 1951, NMAH.AC.1086
Barden Family Papers, 1820s-1930s, NMAH.AC.0824
Jean Bartel Miss America 1943 Photographs, 1943-1970, undated, NMAH.AC.0902
Bartlett Hayward Company Records, 1882-1950, NMAH.AC.0993
P. T. Barnum Collection, 1873-1890, NMAH.AC.0068
Bartley Crucible and Refractories Company Records, 1909-1972, NMAH.AC.0348
Patricia Bath Papers, 1960-2019, NMAH.AC.1585
Patricia Bath Innovative Lives Presentation and Interview, 2000, NMAH.AC.0753
Greville Bathe Papers, 1933-1967, NMAH.AC.0970
Baugh & Sons Company Glass Plate Negatives and Agricultural Ephemera, 1903-1914, NMAH.AC.1098
Lester Beall Collection, 1933-[circa 1967], NMAH.AC.1278
Richard S. Becker Collection of Alex Bradford Gospel Music Materials, 1953-1996, NMAH.AC.0761
E. R. Beers Electric Company Collection, 1909-1938, NMAH.AC.0232
John A. Beemer Papers, 1907-19565 NMAH.AC.0957
Royce L. Beers Papers, 1900-1969, NMAH.AC.0880
S. Joseph Begun Papers, 1888-2000 (bulk 1927-1995), NMAH.AC.0535
Barbara Beirne Portrait Photo Prints, 1980s, NMAH.AC.0356
Bell and Howell Company Drawings, 1946-1947, NMAH.AC.1293
Bendix Washing Machine Store Display Advertising Sign, 1940s, NMAH.AC.0350
Bennett Pottery Company Records, 1844-1981, NMAH.AC0.0213
Julius G. Berger Collection, 1909-1952, NMAH.AC.0075
Berlin Construction Company Records, 1890-1953, NMAH.AC.1032
Irving Berlin Collection, 1905-1987, NMAH.AC.0257
Irving Berlin at Camp Upton: Panoramic Photograph, 1918, NMAH.AC.1460
Lucian Bernhard Advertising Art Collection, 1920-2000, NMAH.AC.1161
Jonas Bernholm Rhythm and Blues Collection, 1976-1991, NMAH.AC.0551
Sid Bernstein Oral History Collection, 1989-1991, NMAH.AC.0434
Darrell Bertness Postcard Collection, mid-20th century, NMAH.AC.1190
Bethlehem Steel Corporation Mining Photographs, 1880-1993 (bulk (1947-1980), NMAH.AC.1242
Everett H. Bickley Collection, 1919-1980, NMAH.AC.0683
Peter J. Bier Papers, 1915-1970, NMAH.AC.0973
Billboards Photo Print Collection, 1920s, NMAH.AC.0284
Billings-Merriam Family Vaudeville Scrapbooks, 1890-1913, NMAH.AC.0079
Binney & Smith Inc., Records, 1897-1998, NMAH.AC.0624
Edwin Binney Family Photographs, 1854-1960, bulk 1900-1930, NMAH.AC.1491
William L. Bird Factory Postcards Collection, 1905-1950, NMAH.AC.1572
William L. Bird Postcard Collection, 1900-1990, NMAH.AC.1465
William L. Bird Holidays on Display Collection, 1877-2010, NMAH.AC.1288
Joan E. Biren (JEB) Queer Film Museum Collection, 1931-2010, undated, NMAH.AC.1216
Joey Bishop Papers, 1960, NMAH.AC.1496
Hezekiah Bissell Papers, 1920-1928, NMAH.AC.1445
Black and Decker Collection, 1914-1992, NMAH.AC.1441
Black Elks Parade Photographs, 1957, NMAH.AC.1499
Julian Black Scrapbooks of Joe Louis, 1935-1944, NMAH.AC.0002
Tom Black Smithsonian Magazine Oral History Collection, 1993, NMAH.AC.0505
Blacksmith's Daybook, circa 1720s, NMAH.AC.0043
Timothy B. Bladen Southern Maryland Photo Prints, 1998, NMAH.AC.0767
Eubie Blake Letter and Manuscript, 1969, NMAH.AC.1400
Victor A. Blenkle Postcard Collection, 1880-1970s, NMAH.AC.0200
Joseph Blinder Medical Notebooks and Notes, circa 1908-circa 1911, NMAH.AC.0831
Bluestime Power Hour Videotapes, 1997-1998, NMAH.AC.0657
Blumenthal Brothers Chocolate Company Records and Blumenthal Family Papers, 1856-2010, NMAH.AC.1344
BMI Confederate Sheet Music Collection, 1860-1868, NMAH.AC.1258
Ernst P. Boas Papers, 1927-1946, NMAH.AC.0881
Bobcat Company Records, 1940s-2009, NMAH.AC.1129
Brad J. Bogart Collection, 1911-1927, NMAH.AC.0128
Bollman Truss Bridge Collection, 1852-1986, NMAH.AC.1064
Richard Bond Clock Escapement Video Documentation, 1997, NMAH.AC.0682
Henry Booth Collection, 1948-1974, NMAH.AC.726
Virginia "Jimmie" Booth Collection, NMAH.AC.0729
Rubin Borasky Electron Microscopy Collection, 1930-1988, NMAH.AC.452
Borden Company 1939 New York World's Fair Collection, 1939, NMAH.AC.1063
Borsig Steam Engine Records, 1933-1988, NMAH.AC.0956
Orlan W. Boston Dynamometer Papers, 1927-1950, NMAH.AC.0811
Boston General Store Account Book, 1807-1830, NMAH.AC.0038
Boston Elevated Railway Photo Album, circa 1899-1901, NMAH.AC.1531
Boston Terminal Company Records, 1899-1936, undated, NMAH.AC.1525
Boston Water Works Collection, 1896-1932, NMAH.AC.1117
Virgil Eldon Bottom Collection, 1936-1983, NMAH.AC.0148
Boudini Brothers Vaudeville Collection, 1909-1928, NMAH.AC.1426
Thomas W. Bower School Records, 1954-1966, NMAH.AC.0698
Howard F. Bowker Papers, 1930-1979, NMAH.AC.1462
Bowker Tavern Application, 1796, NMAH.AC.1213
Boyd Family Papers, 1874-1945, NMAH.AC.0707
Plooma M. Boyd Diary of the 1893 Columbian Exposition, 1893, NMAH.AC.0655
Sylvia and Jon Boyd Tupperware Films, 1957-1970, NMAH.AC.0870
Uriah A. Boyden Papers, 1823-1879, NMAH.AC.0982
Martin M. Branner Collection of the "Winnie Winkle" Comic Strip, 1920-1961, NMAH.AC.0265
Brannock Device Company Records, 1925-1998, NMAH.AC.0672
Dr. R. C. Bratten Dental Collection, 1930-1967, NMAH.AC.0022
Herbert M. Bratter Collection, 1890s-1975, NMAH.AC.0137
Breck Girl Collection, 1936-1995, NMAH.AC.0651
Todd M. Brennan Collection (Charlie's Angels), 1970-1979, NMAH.AC.0076
Clarence D. Brenner World War Two V-Mail Collection, 1942-1945, NMAH.AC.0571
Pat and Chuck Bress Jazz Portrait Photographs, circa 1984-1990, NMAH.AC.1219
Bridgewater Family Papers, 1880-2017, NMAH.AC.1385
Joe Britton Panama Canal Zone Photographs, circa 1945, NMAH.AC.1234
Brookhaven National Laboratory Bubble Chamber Records, 1959-1960, NMAH.AC.0522
Brooklyn Crozite Brick Corporation Records, 1920s, NMAH.AC.1571
Brooklyn Edison Company, Edison Wonder House Records, 1936, NMAH.AC.1237
Brooklyn Edison Company Records, 1926-1935, NMAH.AC.1526
Cuyler W. Brooks Papers, 1934-1962, NMAH.AC.1059
Bernis B. Brown Collection, 1852-1972, NMAH.AC.1047
Don Brown Collection of Duke Ellington Recordings, 1925-1973, NMAH.AC.0472
F. C. Brown Papers, 1902-1964, NMAH.AC.0693
George W. Brown Papers, 1895-1905, NMAH.AC.1527
Hugo Brown Musicians and Actors Photographs, 1947, undated, NMAH.AC.1506
Jae Brown Photographs of Bob Adelman, 1960-1969, NMAH.AC.1438
Lester Brown Presentation, June 18, 2009, NMAH.AC.1268
Naomi Huber Brown Papers (Documenting Duke Ellington's Concert Tour of Asia), 1960-1963, NMAH.AC.0429
Ray Brown Papers, circa 1950-2010, NMAH.AC.1362
William W. Brown Papers, 1920-1950, NMAH.AC.0102
Bil Browning and Jerame Davis Papers, 1972-2015, NMAH.AC.1334
Joseph Bruhl Territory Band Collection, 1922-1980, NMAH.AC.0869
John Bucheimer Papers, 1950s-1971, NMAH.AC.0889
Henry S. Bukowski Big Band Collection, circa 1930s-1940s, NMAH.AC.0678
John and Cile Burbidge Wedding Gown Design Collection, 1968-1985, NMAH.AC.0562
George Edward Burch Papers, 1984-1986, NMAH.AC.0316
Dana Tai Soon Burgess Papers and Photographs, 1904-2005, NMAH.AC.1397
Charles J. Burggraf Johnstown Flood Photographs, 1880-1989, NMAH.AC.1250
Donald M. Burmister Papers, 1927-1974, NMAH.AC.1068
Ralph Burns Collection, 1946-1977, NMAH.AC.0736
Burris and Byrd Family Card Sample Case, circa 1920, NMAH.AC.0126
Burt, Hildreth & Company Records, circa 1873-1880, NMAH.AC.1570
Henry Gaston Busignies Papers, 1905-1981, NMAH.AC.0098
Helen May Butler Collection, 1899-1937, NMAH.AC.0261
C
Cadillac Salesmen's Books and Automobile Trade Literature Collection, circa 1920s-1986, NMAH.AC.1401
C.B. Boiler Attachment Company Collection, 1869-1913, NMAH.AC.1529
Paul Cadwell Banjo Collection, 1880-1980, NMAH.AC.0387
Walter Guyton Cady Papers, 1903-1970, NMAH.AC.0046
William E. Caldwell Papers, 1914-1969, NMAH.AC.0971
The California Shop Records, 1938-1942, NMAH.AC.0572
Call Carl, Inc. Collection, 1914-1975, NMAH.AC.1474
Camden & Amboy Railroad Rules and Traffic Agreements, 1844-1871, NMAH.AC.0152
Charles Came Collection, 1838-1979, NMAH.AC.0661
Campbell Soup Advertising Oral History and Documentation Project, 1904-1989, NMAH.AC.0367
Canadian Bridges Photograph Albums, 1873-1911, NMAH.AC.1025
John Caples Papers, 1900-1987, NMAH.AC.0393
Solomon A. Card , Jr. U.S. Army Chaplain's Papers, 1938-1975, NMAH.AC.1260
Herbert W. Carleton Motion Picture Stills Collection, 1912-1919, NMAH.AC.0465
Sonia Katchian Carrboro Farmer's Market Project [color photo prints], 1994, NMAH.AC.0793
Dr. George Carruthers Video Documentation, 1996, NMAH.AC.0597
Felix P. "Phil" Caruthers Automatic Machine Control Papers, 1952-1991, NMAH.AC.0812
Benny Carter Collection, 1928-2000, NMAH.AC.0757
Carvel Ice Cream Records, 1934-1989, NMAH.AC.0488
Sonora Carver Papers, 1891-1994, NMAH.AC.0521
Castor Advertising Corporation Collection, 1961-2006, NMAH.AC.1461
Caterpillar Tractor Company Photo Prints, 1948-1949, NMAH.AC.0146
Cayton Family Papers, 1892-1992, NMAH.AC.0780
Al Celley Collection of Duke Ellington Materials, 1943-1989, NMAH.AC.1240
Celluloid Corporation Records, 1892-1935, NMAH.AC.0009
Central Film Service Filmstrip Collection, 1924-1946, NMAH.AC.1247
Challinor Family Home Movies, 1956-1965, NMAH.AC.1233
John Challis Papers, circa 1900-1974, NMAH.AC.1375
Robert G. Chamberlain Numerical Control Collection, 1954-1984, NMAH.AC.0527
Chambers Brothers and Company Records, circa 1867-1930, NMAH.AC.1530
Charles B. Chaney Railroad Photographs, 1850-1947, NMAH.AC.1167
Charismic Productions Records of Dizzy Gillespie, 1940-2006 (bulk 1987-1993), NMAH.AC.0979
Ernest Dudley Chase Papers, 1924-1966 (bulk 1930-1940), NMAH.AC.0886
S. Adolphus "Doc" Cheatham Papers, 1939-1998, NMAH.AC.0814
Chesapeake and Ohio Canal Photographs, 1984-1985, NMAH.AC.1022
Andrew Chi Atomic Clocks Collection, 1959-1980, NMAH.AC.1264
Chicago Surface Line Drawings, 1886-1948, NMAH.AC.0212
Chicago, Burlington and Quincy Railroad Negatives, 1850-1915, NMAH.AC.1080
Chickering & Sons Piano Company Collection, 1864-1985, NMAH.AC.0264
El Chico Restaurant Collection, 1908-1990, NMAH.AC.1246
James J. Childs Numerical Control Collection, 1952-1991, NMAH.AC.0420
Julia Child Award Winners Collection, 1952-2019, NMAH.AC.1371
Dorothy H. Christian Collection, 1881, 1913-1934, NMAH.AC.0250
Marilyn Church Courtroom Drawings, 1975-2004, NMAH.AC.1137
Chris Churchill "American Faith" Photographs, 2004-2006, NMAH.AC.1305
Chuse Engine and Manufacturing Company Records, 1915-1921, NMAH.AC.1088
Cincinnati Butchers' Supply Company Records, 1890s-1990s, NMAH.AC.0741
Cinema Posters, circa 1937-1953, NMAH.AC.0656
Michael Cipriano Papers, 1979-1993, NMAH.AC.1274
Civil and Mechanical Engineering Glass Plate Negatives, 1915-1980s, NMAH.AC.1089
Civil and Mechanical Engineering Stereograph Cards, circa 1867-circa 1926, NMAH.AC.1090
Civil War Propaganda Scrapbooks, 1861, NMAH.AC.1372
Civilian Conservation Corps Collection, 1933-2006 (bulk 1933-1942), NMAH.AC.0930
Curt I. Civin Video Documentation, 1997, NMAH.AC.0623
J. Raymond Claghorn Scrapbook, 1881-1895, NMAH.AC.0582
Jean Clairmook Radio Scrapbook, 1930-1932, NMAH.AC.0674
Alexander Melville Clark Papers, 1877, NMAH.AC.1017
George H. Clark Radioana Collection, 1880-1950, NMAH.AC.0055
Pete Claussen Collection of American Flag Magazine Covers, 1941-1943, NMAH.AC.0860
Clayton Air Compressor Works Photographic Catalogs, 1901-1910s, NMAH.AC.1056
William Claxton Photographs, 1955-1960, NMAH.AC.0695
Clement Communications, Inc., Ergonomics and Safety Posters, 2001-2003, NMAH.AC.0799
Coal and Gas Trust Investigation Collection, 1858-1929, NMAH.AC.1049
Imogene Coca Papers, 1879-2008, NMAH.AC.1479
Norman and Sally Coe Scopitone Film Collection, circa 1962-1970, NMAH.AC.1230
Ernest Edwin Coffin Collection, circa 1890s-1940s, NMAH.AC.1152
Stuart Cohen "Marblehead at the Millennium" Photographs, 2000, NMAH.AC.0804
Gordon E. Cole Advertising History Papers, 1879-1899, 1926-1964, NMAH.AC.0371
Colonna Farrell Wine Label Collection, 1975-1997, NMAH.AC.0626
John Coltrane Music Manuscript, 1964, NMAH.AC.0903
Commercial Decal, Inc. Records, 1926-1993, NMAH.AC.0477
Community Life Afro-American Audio-Visual Collection, 1964-1976, NMAH.AC.0201
Community Life TV Soap Operas Collection, 1952-1983, NMAH.AC.0108
Computer Oral History Collection, 1969-1973, 1977, NMAH.AC.0196
Computer Standards Collection, 1958-1979, NMAH.AC.0310
Computer World Smithsonian Awards, 1989-2001, NMAH.AC.0425
Computing History Photographs, 1960s-1970s, NMAH.AC.1416
Robert Scofield Condon Engineering Papers, 1924-1973, NMAH.AC.0428
Conference on Federal Involvement in Electronic Computing, 1976-1979, NMAH.AC.1298
Cloud C. Conkling Papers, 1893, NMAH.AC.1532
Roy Gilbert Conley Papers, circa 1914-1960, NMAH.AC.0851
Containerization Oral History Collection, 1995-1998, NMAH.AC.0639
Coon Chicken Inn Records and Graham Family Papers, circa 1913-1973, NMAH.AC.1153
Cooper Bessemer Corporation Record, circa 1866-1944, NMAH.AC.0961
Madison Cooper Papers, 1900-1963, NMAH.AC.1054
Copper River & Northwestern Railway Collection, 1909-1910, NMAH.AC.1534
Evolution of the Corliss Steam Engine Album, 1930, NMAH.AC.1016
Hallye M. Cornelius and Glendora Horne Collection of Cigarette Packages, 1945, NMAH.AC.0826
Mille Gade Corson Collection, 1920-1930, NMAH.AC.0063
Darrell F. Corti Food and Wine Collection, 1931-1965 (bulk 1940-1960), NMAH.AC.1248
Charles E. Coughlin Collection, 1891-1979, NMAH.AC.1389
Cover Girl Make-Up Advertising Oral History and Documentation Project, 1923-1991, NMAH.AC.0374
Ricki Covette Burlesque Collection, circa 1950-1980, NMAH.AC.1335
COVID-19 Vaccines and Northwell Health Oral History Collection, 2021, NMAH.AC.1517
Robert Covington Stereograph Portfolio, 1989-2008, NMAH.AC.1201
Cox & Sons Company Records, 1900-1935, undated, NMAH.AC.1533
Coxe Brothers Collection, 1886-1935 NMAH.AC.1002
H. Irving Crane Papers, 1927-1950, NMAH.AC.1119
Forman H. Craton Collection, 1902-1983, NMAH.AC.0454
Crown Central Petroleum Advertising Collection, 1949-1996, NMAH.AC.1398
Susan B. Crossman Kindergarten Collection, 1902-1932, NMAH.AC.1208
John D. Crimmins Collection, 1880-1919, NMAH.AC.0398
T.B. Cryer Company Records, 1890-circa 1950, NMAH.AC.1085
Kitty Cucumber Collection, 1985, NMAH.AC.0276
Barton S. Cummings Papers, 1938-1990, NMAH.AC.0421
Cummings Structural Concrete Company Records, 1884-1952 and undated, NMAH.AC.0218
James Cunningham, Son and Company Photographs, 1908-1929 and undated, NMAH.AC.1193
Helen Curran Collection of Irene Castle Documents and Photographs: Albums, circa 1920s, NMAH.AC.1202
William Currie Photo Album, 1904-1912, NMAH.AC.1043
Thomas Currier Vaudeville Collection, 1928-1986, NMAH.AC.1120
D
Chester O. Dale Collection, 1908-1920, NMAH.AC.0951
Ann and Thomas Damigella Collection, 1951-1997, NMAH.AC.0583
Danish Film Stills of American Motion Pictures, circa 1915-1986, NMAH.AC.0543
Stanislaus F. Danko Collection, 1943-1988, NMAH.AC.0667
Arthur d'Arazien Industrial Photographs, circa 1939-1984, NMAH.AC.0314
S. Newman Darby Innovative Lives Presentation, April 9, 1999, NMAH.AC.0838
S. Newman Darby Windsurfing Collection, 1944-1998, NMAH.AC.0625
Victor C. Darnell Bridge Construction Photographs, 1911-1913 and undated, NMAH.AC.1018,
Data Processing Digest Collection, 1955-1974, NMAH.AC.0235
Luther Davis Papers, 1916-2007 (bulk 1936-2007, NMAH.AC.1148
Miles Davis Music Manuscript, 1959, NMAH.AC.0920
Daytime TV Magazine Collection, 1977-1983, NMAH.AC.0107
DC Cowboys Dance Company Records, 1994-2012, NMAH.AC.1312
Joyce P. De La Hunt Papers, 1870s-1950, NMAH.AC.0573
Andre De la Varre Collection, circa 1920-1930, NMAH.AC.0782
Harmon B. Deal Papers, 1920-1930, NMAH.AC.0053
William E. Dean Papers, 1949-1965, NMAH.AC.0230
Robert Dearborn Panama Canal Photo Negatives, circa 19054-1914, NMAH.AC.1111
"Dedication of Headquarters, National Woman 's Party, Washington, D.C., May 21, 1922," NMAH.AC.0754
Kalman J. DeJuhasz Papers, 1908-1959, NMAH.AC.0304
Delaware and Hudson Railroad Engineering Drawings, 1900-1955, NMAH.AC.1169
Delaware, Lackawanna and Western Railroad Records, 1878-1971, NMAH.AC.1074
Del Mar Avionics Holter Monitor Records, 1951-2011, NMAH.AC.1249
Lucretia Deming Family Account Book, 1883-1887, NMAH.AC.0173
Department of Defense Chip Training Videotape Collection, 1970s, NMAH.AC.0586
Sam DeVincent Collection of Illustrated American Sheet Music, circa 1790-1980, NMAH.AC.0300
DFS Ad Agency Falstaff Beer Advertisements, 1945-1946, NMAH.AC.0332
Freda Diamond Collection, 1945-1966, NMAH.AC.0616
Nelson Dickerman Papers, 1880-1965, NMAH.AC.0542
Eleanor Dickinson Pentecostal Videotape and Audiotape Collection, 1967-1977, NMAH.AC.0199
Dieste & Partners Advertising Records, 1996, NMAH.AC.1368
Direct Mail Advertising Collection, 1976-1977, 1980-1981, 1984, NMAH.AC.0115
Disability Reference Collection, 1836-2015, NMAH.AC.1319
Division of Agriculture and Extractive Industries Audiovisual Collection, 1938-1994, NMAH.AC.1348
Division of Community Life Dissertation Series: Lange, Yvonne, Santos: The Household Wooden Saints of Puerto Rico, 1975, NMAH.AC.0197
Division of Community Life World's Fairs Collection, 1876-1993, NMAH.AC.1132
Division of Costume Audiovisual Collection, 1928-1989, NMAH.AC.0801
Division of Culture and the Arts Photographs, undated, NMAH.AC.1292
Division of Cultural History Judaica Collection, 1639-1980, NMAH.AC.1160
Division of Cultural History Lantern Slides and Stereographs, 1887-1930 (bulk 1900-1930), NMAH.AC.0945
Division of Domestic Life Greeting Card Collection, 1854-1975, NMAH.AC.0109
Division of Electricity Dissertation Series, 1970-1979, NMAH.AC.0054
Division of Electricity Film Collection, undated, NMAH.AC.0802
Division of Information and Technology Computer Oral History Collection, 1993-2006, NMAH.AC.1303
Division of Mechanical and Civil Engineering Bridges Reference Collection, 1755-2000, NMAH.AC.1577
Division of Mechanical and Civil Engineering Panama Canal Collection, 1904-1971, bulk 1904-1924, NMAH.AC.1569
Division of Musical History Documents and Graphics, 1872-1984, NMAH.AC.0485
Division of Science, Medicine and Society HIV/AIDS Reference Collection, 1979-2006 (bulk 1987-1993), NMAH.AC.1134
Division of Transportation Street Railways Reference Collection, undated, NMAH.AC.1575
Division of Transportation: Railroads' Engineering Data, 1912-1949, NMAH.AC.0207
Division of Transportation Railroad Reference Files, 1880s-1990, NMAH.AC.0528
Division of Transportation Stereograph Collection, 1867-1927, NMAH.AC.1468
Division of Work and Industry Firefighting Reference Collection, 1849-1980s, undated, NMAH.AC.1477
Division of Work and Industry Lantern Slide Collection, 1886-1931, NMAH.AC.1013
Ed Dodd (Mark Trail) Collection, 1985, NMAH.AC.0165
Dodge Manufacturing Company Records, circa 1910-1924, NMAH.AC.1092
Raymond S. Doerr Scrapbook, 1931-1935, NMAH.AC.0476
William C. Dolowy Veterinarian Medicine Collection, 1960-1961, NMAH.AC.0459
Domestic Life Glass Photograph Collection, circa 1890-1947, NMAH.AC.0292
Domestic Life Stereograph and Photograph Collection, circa 1862-1920, NMAH.AC.0725
Magie Dominic Caffe Cino Collection, 1965-1979, undated, NMAH.AC.1596
Marion O'Brien Donovan Papers, 1917-1999, NMAH.AC.0721
Jacob Aloysius Dorf Papers, 1909-1972, NMAH.AC.0193
Joel Dorn Papers, 1966-1987, NMAH.AC.0536
Doughnut Machine Company Scrapbooks, circa1928, NMAH.AC.0662
Stephen Douglas World War Two Envelopes, 1943-1945, NMAH.AC.0755
Dowd Harpsichord Collection, 1949-1997, NMAH.AC.0593
Beata Drake Covered Bridge Collection, 1954-1981, NMAH.AC.0998
Draper Family Collection, circa1826-1936, NMAH.AC.0121
Frank Driggs Collection of Duke Ellington Photographic Reference Prints, 1923-1972, NMAH.AC.0389
Paquito D'Rivera Music Manuscripts and Photograph, 1988-1996, undated, NMAH.AC.0891
J. Harry DuBois Collection on the History of Plastics, 1900-1975, NMAH.AC.0008
Harry A. Duffy Papers, 1881-2005, NMAH.AC.1162
Allen Balcom Du Mont Collection, 1884-1965, NMAH.AC.0018
Duncan Family Yo-yo Collection, 1928-2002, NMAH.AC.0807
Paul Duncan Farming Film, 1937-1941, NMAH.AC.0827
Charlie Dunn Collection, 1972-1984, NMAH.AC.0186
S. Watson Dunn Advertising Ephemera Collection, 1840-1986, NMAH.AC.0366
DuPont Nylon Collection, 1939-1977, NMAH.AC.0007
Saul Dushman Papers, 1924-1954, NMAH.AC.0101
E
Ralph Earle Color Slides of Atomic Bomb Test, 1945, NMAH.AC.0794
Economic Cooperation Administration Technical Assistance Papers, 1948-1952, NMAH.AC.0318
Edgecraft Corporation Records, 1984-2004, NMAH.AC.1382
Edison General Electric Works Photo Album, 1892, NMAH.AC.1077
Thomas Alva Edison Photo Prints, 1890s-1933, NMAH.AC.0299
Llewellyn N. Edwards Papers, 1925-1964, NMAH.AC.0959
St. Edwards University Documentary Project: Lockhart, Texas, 2011, NMAH.AC.1253
Arthur Ehrat Papers, 1865-2005, 2011 (bulk 1970-1990), NMAH.AC.0907
Eisler Engineering Company Records, 1885-1988 (bulk 1920-1950s), NMAH.AC.0734
Electric Guitar Video Documentation, 1996, NMAH.AC.0610
Electricity and Modern Physics Photonegatives, 1898-1953, NMAH.AC.0715
Electronic Display World Newsletters, 1981-1999, 2001, NMAH.AC.0868
Elks Lodge 684 Photographs, 1947-1982, NMAH.AC.1374
Elion-Weingarten Matchbook Collection, 1930-1983, NMAH.AC.0578
Duke Ellington Collection, 1903-1988, NMAH.AC.0301
Duke Ellington Collection of Ephemera and Related Audio-Visual Materials, 1914-2017, NMAH.AC.0386
Duke Ellington Oral History Project, 1989-1993, NMAH.AC.0368
New York Chapter of the Duke Ellington Society Collection, 1960-1991, NMAH.AC.0390
Annual International Conference of the Duke Ellington Study Group Proceedings, 1981-1993, NMAH.AC.0385
Edward and Gaye Ellington Collection, 1899-1981, NMAH.AC.0704
Ruth Ellington Collection, 1940-1991, NMAH.AC.0415
William G. Elliott Spectra-Span Records, circa 1958-1988, NMAH.AC.1361
Emmett Mercury Boiler Records, circa 1909-1967, NMAH.AC.0968
W.J. Eney Collection, 1929-1977, NMAH.AC.1062
Estelle Ellis Collection, 1942-2004, NMAH.AC.0423
Engineering Notebook Collection, 1835-1930, NMAH.AC.0225
Erie City Iron Works Collection, 1869-1960 (bulk 1975-1912), NMAH.AC.1050
Erie Railroad Collection, circa 1880-1980, NMAH.AC.1082
Erol's Video Club Collection, 1984-1991, NMAH.AC.0687
Celia K. Erskine Scrapbook of Valentines, Advertising Cards, and Postcards, 1882-1884, NMAH.AC.0136
Eskimo Pie Collection, 1921-1996, NMAH.AC.0553
Frank Espada Photographs, 1962-2008, NMAH.AC.1395
Lloyd Espenschied Papers, 1907-1969, NMAH.AC.0013
Thomas Evance Receipt Book, 1753-1775, NMAH.AC.0289
Dr. John G. Evans Papers, 1893, 1947-1949, NMAH.AC.0024
Everhart Brothers Records, 1884-1918, NMAH.AC.0575
James Lithgow Ewin Patents, 1873, 1874, 1879, NMAH.AC.0051
Exiles in America:Cuban Pedro Pans and Balseros, 2014, NMAH.AC.1377
Expo 2000 Collection, 2000, NMAH.AC.0742
F
Falcon Trio Vaudeville Collection, 1912-1931, NMAH.AC.0160
Family Car Memory Books, 1997, NMAH.AC.0648
Famous Amos Collection, 1975-2000, NMAH.AC.0112
Robbie Fanning Sewing Arts Collection, 1985-2002, NMAH.AC.1139
Joseph C. Farber Papers and Photographs, 1930-1990, NMAH.AC.0520
"Farming the Welsh Hills", Portfolio, 1994, NMAH.AC.0526
Herbert M. Faust Papers, 1918-1949, NMAH.AC.0397
Federal Express Oral History & Documentation Project Collection, 1972-1987, NMAH.AC.0306
Mr. & Mrs. P. J. Federico Collection, 1789-1841, NMAH.AC.0298
Fellows Gear Shaper Company Records, 1896-1999, NMAH.AC.0856
Samuel Morse Felton Family Papers, 1841-1930, NMAH.AC.0170
Paola Ferrario Photographs, 1989-1996, NMAH.AC.0699
Charles Fertig Collection, 1979-1985, NMAH.AC.0312
Cyrus W. Field Papers, 1835-1897, NMAH.AC.1386
Filipino Agricultural Workers Collection, circa 1874-1980, NMAH.AC.1515
Finlay Straus Scrapbook, circa 1929-1933, NMAH.AC.0663
Glen Fishback Photographs and Papers, 1930-1976, NMAH.AC.0714
W.A. Fishbaugh Panama Canal Photograph Album, 1905-1908, NMAH.AC.1021
Ernest F. Fisher Collection, 1913-1979, undated, NMAH.AC.1537
Richard Fisher Panama Canal Collection, 1902-1968, NMAH.AC.1045
Fisher, Bruce & Company Records, 1920s-1940, NMAH.AC.0370
Ella Fitzgerald Papers, circa 1935-1996, NMAH.AC.0584
John Fitzgerald Bill [with George Washington autograph], 1786-1787, NMAH.AC.0085
Byron Fogel Place Mat Collection, circa 1950-1981, NMAH.AC.0419
Dennis Foley Papers, 1962-2004, NMAH.AC.0896
Folia Water Materials, 2016, NMAH.AC.1407
Food for Tomorrow Symposium Documentation, November 5-6, 2010, NMAH.AC.1228
Food Preservation and Home Canning Literature, 1883-1990, NMAH.AC.1061
Foresight Institute Newsletter Collection, 1987-2004, NMAH.AC.0863
James Forgie Papers, 1890-1946, 1949, NMAH.AC.0986
Formica Collection, 1913-2003, NMAH.AC.0565
L.F. Foster Wild West Scrapbooks, 1884-1929 (bulk 1890-1910), NMAH.AC.1289
Foundation Company Records, 1887-1969, NMAH.AC.0974
Fournet Drugstore Collection, 1950-1977, NMAH.AC.0346
Fox Movie Flash Street Photography Records, circa 1930-1975, NMAH.AC.0853
Sally Fox Innovative Lives Presentation, November 14, 1997, NMAH.AC.0646
Benjamin Franklin Bridge Photograph Album, 1922-1926, NMAH.AC.1029
Fred Frater Collection of Amish Photographs, circa 1947-1950, NMAH.AC.1147
Jacques Francais Stringed Instruments Photo Archive, 1844-1998, NMAH.AC.0872
Stan Freberg Advertising Collection, 1958-1991, NMAH.AC.0444
Fred/Alan MTV Network Advertising Collection, 1981-1992, NMAH.AC.0453
H. H. French Tallapoosa (Ga.) Photo Prints, circa 1880, NMAH.AC.0375
Fresh Fields Records, 1993-1999, NMAH.AC.1367
Frick Company Collection, 1860-1960, NMAH.AC.0293
Frederick and Mary Fried Folk Art Archives, circa 1895-1985, NMAH.AC.0528
Gilbert L. Friedlein Papers, 1800s-1961, NMAH.AC.0943
Dan Friedman Papers, 1967-1995, NMAH.AC.1277
Joseph B. Friedman Papers, 1915-2000, NMAH.AC.0769
Frito Company Records, 1924-1961, NMAH.AC.1263
Henry Fuller Account Books, 1856-1862, NMAH.AC.0028
Fuller Brush Company Records, 192-2017, NMAH.AC.1459
G
Milt Gabler Papers, 1895-2001, NMAH.AC.0849
Ronald Gabriel Collection of Baseball Memorabilia, circa 1912-2009, NMAH.AC.1178
Ashok Gadgil Innovative Lives Presentation and Interview, 1998, NMAH.AC.0647
GAF Records, 1939-1963, NMAH.AC.1476
James Gallagher Collection, 1924-1931, NMAH.AC.0228
Arthur Ganson Innovative Lives Presentation, October 4, 2002, NMAH.AC.0830
Garfield & Company Records, 1909-1969, NMAH.AC.0820
John W. Garrett Collection, 1850-1880, NMAH.AC.0171
Thomas Garvin Korean War Scrapbook, 1951-1953, NMAH.AC.0756
Leonard and Mary Gaskin Papers, 1910-1999, NMAH.AC.0900
Elmer Gates Papers, 1894-1988 (bulk 1894-1910), NMAH.AC.1123
C. Willard Geer Scrapbooks, 1944-1962, NMAH.AC.0096
David S. Gendell Architectural Drawings, circa 1860s-1900, NMAH.AC.0644
General Electric Corporate Research Department Collection, 1907-1985, NMAH.AC.1593
General Electric Nela Park Collection, circa 1890s-1969, NMAH.AC.0789
General Electric Tungsten Records, circa 1913-1965, NMAH.AC.1440
General Machinery Manufacturers Photograph Collection, circa 1889-1969, NMAH.AC.1115
General Merchandise Account Book, 1829-1831, NMAH.AC.0189
General Motors EV-1 Records, 1990-2005 (bulk 1993-1999), NMAH.AC.0912
General Motors Research Laboratory Collection, circa 1938-1972, NMAH.AC.1538
John Gensel Collection of Duke Ellington Materials, 1950-1979, NMAH.AC.0763
George and Hart's Up To Date Georgia Minstrels Scrapbook, circa 1876-1901, NMAH.AC.0576
Emanuel Gerard Collection of Mather and Company Employee Motivation Posters, 1923-1929, NMAH.AC.0877
Gerber Fabric Cutter Video Documentation, 1995-1996, NMAH.AC.0609
Heinz Joseph Gerber Papers, 1924-1997, NMAH.AC.1336
Gerber Scientific Instrument Company Records 1911-1999, NMAH.AC.0929
Otto Gerdau Collection, 1876-1900, NMAH.AC.0363
James E. Gerrell Notebook, 1842-1847, NMAH.AC.0056
Cass Gilbert Collection, 1897-1936, NMAH.AC.0214
Frank and Lillian Gilbreth Collection, 1907-2000 (bulk 1911-1924), NMAH.AC.0803
S. Colum Gilfillan Papers, 1921-1978, NMAH.AC.0461
Josephus Gill Ledger, 1838-1852, NMAH.AC.1573
Gilman Manufacturing Company Photograph Album, 1930s, NMAH.AC.1057
Joshua R. Ginsberg Collection of Paul Ickovic Photographs, 1960-2000, NMAH.AC.1339
Girard Estate Records, 1785-1965 (bulk 1870-1965) , NMAH.AC.1011
Joshua Gist Account Book and Related Materials, 1769-1822, NMAH.AC.0044
David Gittens Innovative Lives Presentation, May 7, 1997, NMAH.AC.0598
Connie Gleason Cookbook Collection, 1915, 1946, NMAH.AC.0568
Go Forth and Serve: African American Land Grant Colleges Audiovisual Collection, 1992-1993, NMAH.AC.0614
Gold Bond-Good Humor Collection, 1927-1991, NMAH.AC.0451
Melody Golding Photoprints, 2005-207, NMAH.AC.1166
Gordon D. Goldstein Collection, 1948-1957, NMAH.AC.0554
Benny Goodman Ephemera Collection, 1964, NMAH.AC.0381
Jerrold Goodman Golf Scorecards, circa 1950s-1970s, NMAH.AC.0934
Justin H. Goodstein-Aue Color Photographs of Priscilla of Boston, 2011-2012, NMAH.AC.1302
Mack Gordon Papers, 1926-1977, NMAH.AC.1363
Gottlieb-Bodansky Family Papers, 1901-1981, undated, NMAH.AC.1245
Government War Advertising, 1918, NMAH.AC.0407
Goya Foods, Inc. Collection, 1960-2000, NMAH.AC.0694
Alan Gradwohl Menu Collection, 1906-1950s (bulk 1940s-1950s), NMAH.AC.1297
Henry "Buddy" Graf and George Cahill Vaudeville Collections, 1844-2000, NMAH.AC.1484
Andy Granatelli Collection, circa 1940s-1990s, NMAH.AC.1403
Philip Graneto Broadway Theater Collection, 1885-1937, NMAH.AC.1486
Grand Central Terminal Collection, 1831-1978 (bulk 1903-1933), NMAH.AC.1071
Granite Shoals Dam Photograph Album, circa 1940s-1950s, NMAH.AC.1539
Felix Grant Collection, 1935-1985, NMAH.AC.0410
Herbert S. Grassman Papers, 1915-1939, NMAH.AC.0955
Jeffrey Graubart Photograph of Ornette Coleman and John Lee Hooker, 1982, NMAH.AC.1284
Elisha Gray Collection, 1857-1938, NMAH.AC.0014
Gray Panthers Reference Collection, 1981-1983, NMAH.AC.1354
Wilson Greatbatch Innovative Lives Presentation, 1996, NMAH.AC.0601
Freddie Green Papers, 1930-2006, NMAH.AC.1453
Greeting Card Collection, 1920-1970, NMAH.AC.0579
Carolyn and Donald Grepke Paper Doll Collection,1895-1991, NMAH.AC.0752
Mike Grgich Papers, 1923-2013, (bulk 1950-2008), NMAH.AC.0923
Herb Grosch Papers, 1945-1998, NMAH.AC.0703
Gerald Connop Gross Papers, 1900-1946, NMAH.AC.0095
Grutzner Diesel Company Negatives, undated, NMAH.AC.1097
Fritz P. Grutzner Papers, 1935, 1941-1956, NMAH.AC.1540
GTE Burst Switch Collection, 1984-1999, NMAH.AC.0833
Subhendu Guha Innovative Lives Presentation, 1998, NMAH.AC.0668
H
Hagan Brothers Carriage Works Account Books, NMAH.AC.1154
Stephen Haboush Photograph Collection, circa 1920-1960, NMAH.AC.1143
Halacsy and Von Fuchs Documentation for Transformer History, 1884-1885, NMAH.AC.0052
Phillip Haultcoeur Papers, 1954,-1957, NMAH.AC.1501
Hales Bar Dam Collection, 1905-1968, NMAH.AC.1051
Landy R. Hales Papers, 1908-1969, NMAH.AC.0906
James Nicol Halkett Papers, 1924-1951, NMAH.AC.1455
James A. E. Halkett and Sigmund A. Wesolowski (Adam Wesolow), M.D. Papers, 1922-2010, NMAH.AC.0220
Charles Francis Hall Collection, 1858-1871, NMAH.AC.0702
Clayton M . Hall Collection of Railroad Photographs, 1936-1966, NMAH.AC.1168
Joseph Underwood Hall Papers, 1881-1936, NMAH.AC.1317
William E. Hallett Papers, 1900-1925, NMAH.AC.1112
Garnette Hamilton Collection, 1957-1981, NMAH.AC.0273
Jon and Jennifer Hanson Watch and Clock Collection, NMAH.AC.1122
William J. Hammer Collection, 1874-1957, NMAH.AC.0069
Hammond Coal Company Records, 1923-1954, NMAH.AC.1003
Albert W. Hampson Commercial Artwork Collection, 1926-1968, NMAH.AC.0561
W. C. Handy Collection, 1928, 1948, NMAH.AC.0132
Catherine Hann Papers, 1953-2006, NMAH.AC.0921
Philip Haultcoeur Papers, 1954-1957, NMAH.AC.1501
Kenneth R. Harding Collection, circa 1950-1980, NMAH.AC.0885
Peter Paul Haring Papers, 1895-1977 (bulk 1897-1935), NMAH.AC.1014
Carter Harman Collection of Interviews with Duke Ellington, 1956, 1964, 1991, NMAH.AC.0422
Marion Harper Papers, 1916-1989, NMAH.AC.0394
Harris Automatic Press Company Records, 1900-1939, NMAH.AC.0928
Charles Cohill Harris Collection [United Fruit Company], circa 1906-1976, NMAH.AC.0049
Hart, Schaffner and Marx Records, 1901-1955, NMAH.AC.0426
Hartford, Connecticut Bridge Collection, 1903-1905, NMAH.AC.1066
Hartford Steam Boiler Inspection and Insurance Company Records, 1935-1947, NMAH.AC.1541
Robert S. Hartmann Phonograph Disc Collection, 1916-1930s, NMAH.AC.0297
Marion John Hartung Mechanical Engineering Lab Reports, 1906-1907, NMAH.AC.1033
Haskell Barker Car Company Photographs, 1926-1949, NMAH.AC.1183
Roland C. Hawes Papers, 1908-1997, NMAH.AC.0617
Ed Hayes and His Banjo Girls, 1918-1981, NMAH.AC.1333
Marcella Hazan Recipe Notebooks, circa 1970s-1990s, NMAH.AC.1604
Hazen Collection of Band Photographs and Ephemera, 1818-1931, NMAH.AC.0253
William Babcock Hazen Papers, 1855-1909, NMAH.AC.0427
Howard Head Papers, 1926-1991, NMAH.AC.0589
William Helfand Phone Card Collection, 1980-1991, NMAH.AC.0447
Edward L. Heller Papers, 1947-1991, NMAH.AC.1542
Helping People with AIDS (HPA) Records, 1989-2009 (bulk 2002-2003), NMAH.AC.1283
Daniel Henderson Portable Electronic Devices Documentary Collection, 1968-2002, NMAH.AC.0875
Horace and Fletcher Henderson Music and Photographs Collection, 1930s-1980s, NMAH.AC.0797
Gordon Hendricks Motion Picture History Papers, circa 1895-1970, NMAH.AC.0369
Herder Cutlery Collection, 1836-1976, NMAH.AC.0050
John W. Hereford Letter, 1827, NMAH.AC.0066
Rudolph Hering Collection, circa 1863-1923, NMAH.AC.0989
G.P. Herrick Papers, 1842-1912, NMAH.AC.1058
Rocky Herosian Collection, 1910-1943, NMAH.AC.0295
Tad Hershorn Collection, 1956-1991, NMAH.AC.0680
Christian Heurich Brewing Company Records, 1883-1913, NMAH.AC.1104
Ira L. Hill Portrait Photo Negatives, 1912-1953, NMAH.AC.0144
James J. Hill Scrapbook, 1916, NMAH.AC.0334
Nicholai H. Hiller Collection, 1890-1937, NMAH.AC.1105
Alice R. Hillis World's Fair Film, 1939, NMAH.AC.0531
Hills Bros. Coffee, Inc. Records, circa 1875-1965, NMAH.AC.0395
Julian Hinds Collection, 1881-1975, NMAH.AC.0287
Leonard P. Hirsch Federal Gllobe Papers, 1985-2015, NMAH.AC.1357
Lynda Hirsch "Daytime Dial" Collection, 1981-1982, NMAH.AC.0113
Historic American Merchant Marine Survey Records, 1936-1937, NMAH.AC.0240
Joseph J. Hittinger Letters, 1921-1923, NMAH.AC.0288
Bill Hoak Collection, 1909-1972, NMAH.AC.0236
Chuck Hoberman Innovative Lives Presentation, 1996, NMAH.AC.0604
Helen Hoch Tupperware Films, 1959-1965, NMAH.AC.0865
Don C. Hoefler's Microelectronic News Collection, 1975-1987, NMAH.AC.0884
Hoffman Collection, undated, NMAH.AC.0062
David Hoffman/Boaz Postcard Collection, 1900-1933, NMAH.AC.0281
Max Holland Numerical Control Collection, 1941-1995, NMAH.AC.0537
Hollingsworth & Whitney Company Collection, 1920s, NMAH.Ac.1543
Bill Holman Collection, 1951-2000, NMAH.AC.0733
James W. Holmes Karting Collection, 1961-1979, NMAH.AC.0787
David Holton Harbness-Maker's Account Books, 1841-1864, NMAH.AC.1226
Gladys Reid Holton Ephemera Collection, 1800-circa 1978, NMAH.AC.0466
Home Economics Educational Filmstrip Collection, 1962-1980, NMAH.AC.0764
Andrew Homzy Collection of Duke Ellington Stock Music Arrangements, circa 1925-1958, NMAH.AC.0740
Hanna Lore Hombordy Papers, 1940s-1955, NMAH.AC.1273
Hooker-Howe Company Papers, 1922-1938, NMAH.AC.1475
Grace Murray Hopper Collection, 1944-1965, NMAH.AC.0324
Hoopes Brother & Darlington, Inc., Records, 1836-1978, bulk 1920s-1930s, NMAH.AC.1578
Horn and Hardart Records, 1921-2001, NMAH.AC.0922
Dorothy Horstman Oral History Field and Radio Show Recordings, 1956-1994, NMAH.AC.0723
Sarah Hoskins New Zion, Kentucky Photo Prints, 2002, NMAH.AC.1124
Hot Spots of Invention: People, Places and Spaces Documentation, November 6-7, 2009, NMAH.AC.1188
Houston, Texas Photo Album, 1911, NMAH.AC.0335
E. Howard Clock Company Records, 1862-1930, NMAH.AC.0776
Howe Scale Company Records, 1868-1963, NMAH.AC.0004
Chet and Juanita Howell Rodeo Collection, 1934-1958, NMAH.AC.0255
Hubbard Harpsichord Records, 1930-2003, NMAH.AC.1256
Hudson-Fulton Celebration Photograph Album, 1909, NMAH.AC.1149
Burton-Humphreys Oil Production Collection, circa 1912-1920, NMAH.AC.1102
Humphrey Family Postcard Album, circa 1905-1906, NMAH.AC.1196
William R. Hutton Papers, 1830-1965, NMAH.AC.0987
Hyde Windlass Company Drawings, circa 1895-1950, NMAH.AC.0239
I
IAC Group Advertising Collection, 1989-1996 NMAH.AC.1366
ICE Integrated Circuit Collection, 1970-1997, NMAH.AC.0600
Illinois Springfield Watch Company Record Book, 1872-1883, NMAH.AC.1145
Imperial Glass Company Records, 1909-1940, NMAH.AC.0105
Industrial Archaeology Collection, 1968-1990s, NMAH.AC.1518
Industry on Parade Film Collection, 1950-1959, NMAH.AC.0507
Albert G. Ingalls Papers, 1920-1956, NMAH.AC.0175
Institute for Advanced Study Computer Project Records, 1950-1957, NMAH.AC.0401
Institute for Advanced Study Electronic Computer Project Drawings, 1949-1961, NMAH.AC.0815
Instrument Society of America Collection, 1911-1972, NMAH.AC.0215
International Battle of the Bands Records, 1981-1998, NMAH.AC.0677
International Longshoremen's Association, Local 791, Records, 1938-1986, NMAH.AC.0440
International Salt Company Records, 1881-1992, NMAH.AC.1158
International Sweethearts of Rhythm Collection, 1933-2010, NMAH.AC.1218
Interstate Commerce Commission Locomotive Inspection Reports, 1931-1964, NMAH.AC.0241
Inventing the Surveillance Society, October 25, 2013, NMAH.AC.1355
Inventors Oral History Collection, 2020-2021, NMAH.AC.1504
Iowa Button Industry Collection, 1898-1993, NMAH.AC.0504
Washington Irving Letter, 1852, NMAH.AC.0084
Eiko Ishioka Collection, circa 2007-2011, NMAH.AC.1331
ITT Industrial Laboratories Electron Tube Research Records, 1934-1984, NMAH.AC.0822
Ivory Soap Collection, 1883-1998, NMAH.AC.0791
Ivory Soap Essay Contest Collection, 1940, NMAH.AC.0818
Dr. Robert H. Ivy Papers, 1901-1972, NMAH.AC.1411
J
J & B Manufacturing Company Records, 1903-1924, NMAH.AC.0563
Robert K. Jackler Tobacco Advertising Collection, circa 1898-2017, NMAH.AC.1224
Morris Jacks Papers, 1929-1976, NMAH.AC.1448
Milt Jackson Innovative Lives Presentation, 2010, NMAH.AC.1241
Jackson & Sharp Car Company and American Car & Foundry Company Records, 1884-1948, NMAH.AC.0156
Chevalier Jackson Papers, 1883-1960, NMAH.AC.0023
Ed Jackson "Book of Radio Personalities" Scrapbook, 1933-1941, NMAH.AC.861
Jake Jacobson "Heart & Hands" Color Iris Photo Prints, circa 1996-2000, NMAH.AC.0866
Barbara S. Janssen Collection of Singer Manufacturing Company Correspondence, 1868-1877, NMAH.AC.1299
Janssen Piano Company Records, 1901-1929, NMAH.AC.0512
Jantzen Knitting Mills Collection, 1925-1977, NMAH.AC.0233
Japanese American Documentary Collection, 1900s-1982, NMAH.AC.0305
Jazz and Big Band Collection, 1930-1975, NMAH.AC.1388
Jazz Oral History Collection about Duke Ellington, 1988-1990, NMAH.AC.0431
Maceo Jefferson Papers, 1898-1974, NMAH.AC.1370
Virgie Williams Jefferson Photo Print Collection, circa 1890s, NMAH.AC.0313
Jogbra, Inc., Records, 1977-2013, NMAH.AC.1315
Eugene B. Johnson Papers, 1930-1980, NMAH.AC.1450
Virgil Johnson Collection of Cigarette Packages, 1890-1997, circa 1890-1997, NMAH.AC.0645
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, circa 1888-1899, 1906, NMAH.AC.0416
Gilbert L. Johnstone Corporation Panoramic Photo Print, 1919, NMAH.AC.0209
J. & W. Jolly Company Records, circa 1880-1924, NMAH.AC.1009
Caroline R. Jones Collection, circa 1942-1996, NMAH.AC.0552
William W. Jones Family Scrapbook, 1880-1904, NMAH.AC.0340
Katherine Joseph Papers, 1938-1944, 1962 (bulk 1941), NMAH.AC.0944
K
Kahle Engineering Company Records, 1930-1980, NMAH.AC.0735
Kahn Family Films Collection, 1926-1957, NMAH.AC.0722
Line Kallesoe Correspondence, 1866, NMAH.AC.0042
Kamikawa, Omata, and Matsumoto Families Papers, 1850-2006 NMAH.AC.0924
Nathan Kane Video Documentation, 1997, NMAH.AC.0637
Fred Karger Papers, 1960-2015, NMAH.AC.1439
Leonard Karr Collection, 1930-1995, NMAH.AC.0762
Sonia Katchian Carrboro Farmer's Market Project, 1994, NMAH.AC.0793
Kates Film Collection, circa 1929-1931, NMAH.AC.0259
Mollie Katzen Papers, 1972-1991, NMAH.AC.1434
Kauffman Collection, 1851-1883, NMAH.AC.1103
Henry J. Kaufman and Associates Records, 1930s-1970s, NMAH.AC.0843
Robert W. Kearns Papers, 1963-1999, NMAH.AC.1406
John Kearsley Bill, 1786, NMAH.AC.0086
Kelsey Company Records and Amateur Journalism Collection, 1873-1964, NMAH.AC.0377
Emory Kemp Glass and Ceramics Lantern Slide Collection, 1930s, NMAH.AC.0138
Jacob Kendall's Account Book, 1759-1787, NMAH.AC.0033
Anne Judd Kennedy Papers, 1958-1967, NMAH.AC.0506
Robert E. Kennedy Collection, circa 1918-1932, NMAH.AC.1544
Kent Family Records, 1879-1933, NMAH.AC.0036
Kern Dental Equipment Collection, 1936-1970, NMAH.AC.0479
Kiehl's Pharmacy Records, 1920-1973 (bulk 1960-1970), NMAH.AC.0819
Jack Kilby Manuscript, 1951, NMAH.AC.0798
D. Ward King Road Grader Collection, 1903-1920, NMAH.AC.1332
Ed King Collection of Civil Rights Material, 1961-1970, NMAH.AC.0559
Howard L. King Engineering Reports, 1928-1949, NMAH.AC.0990
Jean King Glass Negative Collection, 1890-1894, NMAH.AC.0140
Kingsford Foundry & Machine Works Records, 1898-1926, NMAH.AC.1545
Katherine Kingsford Panama Canal Photograph Album, circa 1904-1914, NMAH.AC.1040
Dr. Bruno Z. Kisch Papers, 1904-1968, NMAH.AC.0835
Kit Mobile Home Manufacturing Company Records, 1951-1995, NMAH.AC.0518
Kleinschmidt Teletype Records, 1915-1930, NMAH.AC.1259
Frank Klepetko Michigan Mining Cyanotype Album, circa 1880, NMAH.AC.1042
Jeffrey Kliman Photographs, 1993-2001, NMAH.AC.0628
James Knights Company Records, 1951-1981, NMAH.AC.0847
Eldo C. Koenig Personal Computer Collection, 1950-1969, NMAH.AC.0650
Ruth E. Koenig Mississippi Summer Project Collection, circa 1964-1966, NMAH.AC.0558
Charles W. Koerner RKO Studio Scrapbooks, 1923-1953, NMAH.AC.1432
Hariett Green Kopp Papers, 1930s-1940s, NMAH.AC.1130
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, NMAH.AC.0545
William C. Kost Farm Records, 1939-1989, NMAH.AC.0481
Kraft Television Theatre Oral History Project, 1947-1992, NMAH.AC.0464
Sharlene Kranz Paper Ephemera Collection, 1847-1948, NMAH.AC.0513
Melvin Kranzberg Papers, 1934-1988, NMAH.AC.0266
Krispy Kreme Doughnut Corporation Records, 1937-1997, NMAH.AC.0594
Max Kronenberg Machining Science Papers, 1954-1971, NMAH.AC.0813
Harry Kroto Innovative Lives Presentation and Interview, 2001, NMAH.AC.0792
Kryptonite Lock Company Records, 1972-2003, NMAH.AC.0840
Kubla Khan Frozen Food Company Records, 1950-2006, NMAH.AC.1316
Roy C. Kulp Collection of Account Books, 1755-1904, NMAH.AC.0149
Michio and Aveline Kushi Macrobiotics Collection, 1960-2006, NMAH.AC.0619
Stephanie Kwolek Innovative Lives Presentation, 1996, NMAH.AC.0596
L
Lackawaxen Canal Survey Profiles, 1882-1889, 1986, NMAH. AC.1546
Lake Shore and Michigan Southern Railroad Bridge Profiles, 1877-1896, NMAH.AC.1073
Gerald Lamboley Collection of Japanese-American Letters, 1942-1943, NMAH.AC.0450
Hedy Lamarr and George Antheil Invention Papers, 1932, 1940-1942, NMAH.AC.1590
J. Curtis Lamp Papers, 1942-1988, NMAH.AC.1412
Lamson Cash Carrier Video Documentation, 1995, NMAH.AC.0606
Charles H. Land Papers, 1860-1957, NMAH.AC.0834
Landor Design Collection, circa 1930-1994, NMAH.AC.0500
Anthony Lanza World War II Papers, 1925-1946 (bulk 1940s), NMAH.AC.0910
Edmund A. LaPort Collection, 1920-1950, NMAH.AC.0016
Meyer Later World War I Memorabilia, 1917-1919, NMAH.AC.1140
Latino Music Collection, 1991-2006, undated, NMAH.AC.0852
Latino Winemakers Oral History Project Collection, 2011-2019, NMAH.AC.1516
Edith Lauren Theater Collection, 1950-2018, NMAH.AC.1488
LCL Corporation Records, 1927-circa 1970, NMAH.AC.1170
Clyde E. Learned Papers, 1913-1939, 1949, NMAH.AC.0226
Olive Leavister 19th Century Handmade Valentine Collection, 1830-1880, NMAH.AC.0376
Erasmus D. Leavitt Collection, 1871-1917, NMAH.AC.0966
Lebanon Valley Baseball League Collection, 1936-1963, NMAH.AC.0067
Robert Ledley Papers, 1971-1990, NMAH.AC. 1135
Lee Chinese-American Family Papers, circa 1915-1970, NMAH.AC.0555
Edith Youdale Lee Scrapbook, 1912-1940, NMAH.AC.1415
Leedy Manufacturing Company Photograph Album, circa 1925, NMAH.AC.0188
Mary Leet Account Book, 1806-1810, NMAH.AC.0027
Legal Documents Concerning Slavery, 1796, NMAH.AC.0786
Jeni LeGon Papers, 1930s-2002, NMAH.AC.0829
James Leffel and Company Records, circa 1867-1957, NMAH.AC.0960
Lehigh Coal & Navigation Company Records, 1820-1965, NMAH.AC.0071
Lehigh Valley Coal Company Records, 1864-1865, and undated, NMAH.AC.1106
Lehigh Valley Railroad Records, 1860-1940, NMAH.AC.1046
Annie Leibovitz Color Portrait of Ella Fitzgerald, 1988, NMAH.AC.0588
Daniel M. Leland Account Book, 1789-1791, 1837, NMAH.AC.0029
Len Family Papers, 1922-1999 NMAH.AC.1493
William J. Lenz Piano Tuning Collection, circa 1903-1955, NMAH.AC.0511
Herman Leonard Photoprints Collection, 1948-1993, NMAH.AC.0445
Ronald J. Leonard Papers, circa 1980-1997, NMAH.AC.1109
Shirley Leonard Papers, 1920s-1960s, NMAH.AC.0919
Leslie Company Photograph Albums, circa 1890-1900, NMAH.AC.1182
Floyd Levin Jazz Reference Collection, 1880-2010, NMAH.AC.1222
Bernard Levine Sample Book Collection, 1930s, NMAH.AC.0278
Benjamin Levine Collection of Amateur Boxing Ephemera, 1902-1963, NMAH.AC.0435
Alan and Elaine Levitt Collection, 1920-1960s, NMAH.AC.0303
John Levy Papers, circa 1940s-2001, NMAH.AC.1221
Byron Lewis Papers, 1931-2023, NMAH.AC.1583
E. Lewis Allen Papers, circa 1917-1930s, NMAH.AC.1528
Ramsey Lewis Collection, 1950-2007, NMAH.AC.1126
Lifwynn Foundation Eye-Movement Camera Records, 1938-1954, NMAH.AC.0020
Lighthouse Postcards Collection, undated, NMAH.AC.1055
Lima Locomotive Works, Inc., Service Department Records, NMAH.AC.1180
Ben and Ruth Liman Jazz Films Collection, 1930s-1940s, NMAH.AC.0775
Lisa Lindahl Papers, 2001-2005, NMAH.AC.1352
Link Belt Company Photographs, 1915-1967, NMAH.AC.997
Eleanor Linkous Washington, D.C. Sports Memorabilia Collection, 1925-1956, NMAH.AC.774
Simon Lissim Papers, 1924-1981, NMAH.AC.1276
John Frances Little Panama Canal Photograph Album, 1907-1914, NMAH.AC.0708
Beatrice Litzinger Postcard Collection, 1900-1990, NMAH.AC.0530
Lockwood Greene Records, 1784, 1872-2004, NMAH.AC.1113
Richard Lodish Collection of American Education Ephemera, circa 1825-1908, NMAH.AC.1421
Stanley Lomas Television Commercial Collection, 1950-1956, NMAH.AC.0342
Lombard Governor Company Records, 1898-1970s, NMAH.AC.1091
Lonesome Pine Specials, 1986-1991, NMAH.AC.0487
Crawford W. Long Collection, 1842-1926, NMAH.AC.0120
Charles T. G. Looney Papers, 1917-1971, NMAH.AC.1084
Lord, Dentsu & Partners "Flying Tigers" Advertising Collection, 1981-1989, NMAH.AC.0455
Juanita Tamayo Lott Filipino American Photographs and Papers, 1942-2005 (bulk 1950s-1960s), NMAH.AC.0925
Gilbert Louey Country Music Film Collection, 1920s-1970s, NMAH.AC.0832
Darrell Lucas Advertising History Collection, 1922, 1990, NMAH.AC.0379
George W. Ludington Collection, 1817-1889, NMAH.AC.0135
Frank Driggs Collection of Jimmie Lunceford Orchestrations, 1929-1954, NMAH.AC.0471
Harold Lyons Atomic Clocks Collection, 1935-1991, NMAH.AC.0701
M
M*A*S*H Television Show Scripts, 1972-1982, NMAH.AC.0117
Paul MacCready Innovative Lives Presentation, November 8, 2002, NMAH.AC.0842
W. D. MacFarlane Scrapbook, 1870-1892, NMAH.AC.0337
Will MacPheat Collection of USGS Photographs, 1920s-1930s, NMAH.AC.0905
Paul Ma Papers, 1976-1997, NMAH.AC.1469
Clark Maddock Advertising Collection, 1931-1994, NMAH.AC.1346
Akhil Madhani Innovative Lives Presentation, 1999, NMAH.AC.0709
Alfred Maevis Collection, 1903-1969, NMAH.AC.0954
Magellan Systems Corporation GPS Records, 1978-2005 (bulk 1986-1998), NMAH.AC.1214
Joseph Magnin Poster Collection, 1963-1968, NMAH.AC.355
James Mahaffey Cold Fusion Collection, 1989-1992, NMAH.AC.1393
Mahler Product Packaging and Advertising Collection, 1946-2018, NMAH.AC.1482
Maidenform Collection, 1922-1997, NMAH.AC.0585
Maid of Cotton Records, 1939-1993, NMAH.AC.1176
Charles T. Main Inc., Photographs, circa 1908-1910, NMAH.AC.1053
Francis Mair Collection, circa 1932-1986, NMAH.AC.0548
Louisan E. Mamer Rural Electrification Administration Papers, 1927-2002, NMAH.AC.0862
Nicholas C. Mandragos Papers, 1905-1964, NMAH.AC.0484
Chuck Mangione Collection, 1972-2009, NMAH.AC.1151
Dennis Manochio, Sr. Fireworks Collection, 1920s-1940s, NMAH.AC.0533
Manuscript Account Book, 1742-1794, NMAH.AC.0082
Marconi Family Portraits, 1930s, NMAH.AC.0167
David Marcou Photo Prints, 2008-2009, NMAH.AC.1187
Jerry Maren Papers, 1920s-2010s, NMAH.AC.1589
Markham/Berry Indenture, 1696/1697, NMAH.AC.0185
Peter Marks Minstrelsy Collection, circa 1861-1883, NMAH.AC.1328
Marlboro Oral History & Documentation Collection, 1926-1988, NMAH.AC.0198
Martin and Morris Music Company Records, 1930-1985, NMAH.AC.0492
Emiliano Martinez Collection, 1984, NMAH.AC.0176
Patrick Martinez Pee Chee Folders , 2016-2020, NMAH.AC.1507
Ladislaus Laszlo Marton Collection, 1932-1970, NMAH.AC.0100
William M. Marutani Papers, 1940-2003, NMAH.AC.0890
Maryland Farm Diary, 1879-1894, NMAH.AC.1267
Groucho Marx Collection, 1911-1978, NMAH.AC.0269
Harpo Marx Papers, 1896-2009, undated, NMAH.AC.1290
William Mason Papers, 1839-1857, NMAH.AC.0045
Massie/McLurkin Innovative Lives Presentation and Interviews, 1995, 1997, NMAH.AC.0603
Nathaniel Mathis Collection of Barbering and Beauty Culture, 1946-2004, 2010 , NMAH.AC.0641
The Mattachine Society of Washington "Love in Action" Collection, 2004, NMAH.AC.1428
Maria von Matthiessen Photo Prints, circa 1990-1998, NMAH.AC.0622
Bill Mauldin Cartoon Collection, 1946-1987, NMAH.AC.0307
Matthew Mawhinney Industrial Furnace Collection, 1917-1978, NMAH.AC.0224
Emmett McBain Afro-American Advertising Poster Collection, 1971-1976, NMAH.AC.0192
Harry A. McBride Railroad Photographs, circa 1940s-1950s, NMAH.AC.1171
Jay McCarter Phonograph Collection, 1940s-1950s, NMAH.AC.0541
William McCloskey Fishing and World Fisheries Photographic Collection, 1952-2005 NMAH.AC.1192
Robert "Mack" McCormick Collection, 1858-2015, undated, NMAH.AC.1485
Richard McCowan Photoprints, circa 2010, NMAH.AC.1210
Roland A. McCrady Photograph Collection, 1906, 1913 NMAH.AC.0710
Betty McGettigan Collection of Duke Ellington Memorabilia, circa 1969-1986, NMAH.AC.0494
McIntire Family Hawaiian Entertainers Collection, 1920-2011, undated, NMAH.AC.1511
McIntosh, Seymour and Company Records, circa 1886-1939, NMAH.AC.0985
McKinley Music and Ephemera Collection, 1945-1994, NMAH.AC.0635
George E. "Mello" and Neva Saterlee McNally Vaudeville Collection, circa 1889-1964, NMAH.AC.0760
Charles E. McTiernan Scrapbook Collection, 1929-1931, NMAH.AC.0202
Medical and Chirurgical Faculty of the State of Maryland Collection, circa 1740-1965, NMAH.AC.0114
Medical Sciences Film Collection, 1930s-1960s, NMAH.AC.0222
Samuel J. Meeks Carriage Works Records, 1881-1891, NMAH.AC.1502
Meggers Collection, 1914-1970, NMAH.AC.0061
Miss America 1951 Papers, 1910-2003, NMAH.AC.0888
Montgomery C. Meigs Papers, 1870-1890, NMAH.AC.0984
Melrose Diner Collection, 1938-1988, NMAH.AC.0489
Memories of the New York World's Fair, 1939-1940, NMAH.AC.0592
Men & Women: Gender & Costume TV Commercials Collection, 1988-1989, NMAH.AC.0529
Merchant's Despatch Transportation Company Records, 1880s, NMAH.AC.1579
Merchant Marine/Navy World War Two Oral History and Memorabilia Collection, 1943-1946, NMAH.AC.405
Mergenthaler Linotype Company Records, 1905-1993, NMAH.AC.0666
Virginia Mericle Menu Collection, 1960-1999, NMAH.AC.1212
Messmore and Damon, Inc. Company Records, 1892-1998, NMAH.AC.0846
METCO Inc. Materials, 1977-2014, NMAH.AC.1410
William Metzig Papers, [192-]-[197-], NMAH.AC.1269
Wilbur L. Metz Collection of Railroad Ephemera, 1910-1986, NMAH.AC.1172
Mexican Border Veterans, Inc., and Auxiliary Scrapbooks, 1916-1981, NMAH.AC.0119
Edgar Meyer Innovative Lives Program, 2005, NMAH.AC.0918
Greg Meyer Taser Collection, 1946-2009, NMAH.AC.1311
Daniel H. Meyerson World's Fair Collection, 1915-2000, NMAH.AC.0745
Miami Conservancy Dam, 1918-1926, NMAH.1547
Dewey Michaels Burlesque Collection, 1920s-1967, NMAH.AC.0065
Microelectronics Oral History Collection, 1996, NMAH.AC.0566
Milford & Owego Turnpike Road Company Treasurer's Account Book, 1817-1824, NMAH.AC.0153
Elinor S. Miller Paper Doll Collection, circa 1909-1940, NMAH.AC.1110
Eric Miller Collection, 1953-1983, NMAH.AC.0587
Joseph Miller Collection, circa 1895-1992, NMAH.AC.0514
Richard H. Miller Bridge Collection : postcards and slides, circa 1950-1988 and undated, NMAH.AC.0950
James A. Millholland Collection, 1866-1899, NMAH.AC.0163
Records of the Robert Mills Papers Project, circa 1800-1860s, 1984-1989, NMAH.AC.0344
Minnesota Railroads Photograph Albums, 1886-1887, NMAH.AC.1023
Francis M. Misklea Carousel Collection, 1879-1956, NMAH.AC.0665
Missouri River Improvement Project Collection, 1895-1901, NMAH.AC.1548
Ada Mitchell Travel Diary, 1938, NMAH.AC.1369
Modjeski and Masters Company Records, 1870-1979 (bulk 1900-1940), NMAH.AC.0976
Reuben C. Moffat Correspondence, 1852, NMAH.AC.1101
Albert F. Moglie Violinists and Violin-Making Collection, 1917-1985, NMAH.AC.0283
Thelonious Monk Music Manuscript, 1951, NMAH.AC.0914
James Moody Papers, circa 1989-2008, NMAH.AC.1405
Moses Moon Collection, 1963-1964, NMAH.AC.0556
Ann Moore Innovative Lives Presentation and Interview, 1999, NMAH.AC.0706
Clayton Moore "Lone Ranger" Collection, 1980-1999, NMAH.AC.0727
Ernst D. Moore Papers, 1888-1932, NMAH.AC.0321
Gene Moore Tiffany and Company Photographs, 1955-1995, NMAH.AC.1280
Mildred Moore Collection, 1925-1975, NMAH.AC.0409
Moore-Stein Protein Sequencer Video Documentation, 1996, NMAH.AC.0607
Anthony Moreno Papers, 1965-1973, NMAH.AC.1478
Nathan W. Morgan Papers, 1888-1972, bulk 1930s, NMAH.AC.0965
George S. Morison Collection, 1846-1903, NMAH.AC.0978
Dr. James Beall Morrison Correspondence, 1869-1873, NMAH.AC.0442
Joan and Robert K. Morrison Collection, 1985-1987, NMAH.AC.0359
Morton Family Collection, 1849-1911, NMAH.AC.0118
Robert Mosher Photoprints, 1971-1973, 2003, NMAH.AC.1203
Willie Mosconi Papers, 1924-2000, NMAH.AC.0744
Mothers Against Drunk Driving Collection, circa 1980-1992, NMAH.AC.1262
Motion Picture Press Kits Collection, circa 1985-2013, NMAH.AC.1353
Mount Joy, Pennsylvania, Day Book, 1863-1864, NMAH.AC.0031
Wadsworth W. Mount Papers, 1920-1984, NMAH.AC.0352
Moving Beyond Earth, Innovations in Space, 2011, NMAH.AC.1287
Mr. R&B Collection, 1976-1991, NMAH.AC.0551
Marvin E. Mundel Industrial Engineering Collection, 1937-1996, NMAH.AC.0676
E. Murdock & Company Records, 1863-1954, NMAH.AC.0268
Museum of Menstruation Collection, circa 1890s-2011, NMAH.AC.1586
Musical Instrument Recording Session Photo Print, 1900, NMAH.AC.0194
Annamae Barlup Myers and Stephen Harriman Diaries, 1883-1894, 1931-1967, NMAH.AC.0345
Stephanie Myers Jazz Photographs, 1984-1987, NMAH.AC.0887
Richard Myrland Wurlitzer Jukebox Collection, 1971-1973, NMAH.AC.0784
N
Leonard Nadel Photographs and Scrapbooks, 1950-2006, NMAH.AC.1313
Faris & Yamna Naff Arab American Collection, circa 1875-2004, NMAH.AC.0078
Naima Rauam Bridge Watercolors, 1989-1991, NMAH.AC.1584
Nagle Engine and Boiler Works Records, circa 1890-1939, NMAH.AC.1083
Narrows Dam (Yadkin River, North Carolina) Photograph Album, 1916-1917, NMAH.AC.1041
Joseph S. Klein National Association of Men's Sportswear Buyers Records, 1986-2005, NMAH.AC.0901
National Bureau of Standards Radio Collection, 1917-1933, NMAH.AC.0217
National Company (NATCO) Atomic Clocks Records, 1955-1968, NMAH.AC.0547
National Industrial Conservation Movement Posters, 1916-1917, NMAH.AC.1454
National Cotton Council Photograph and Film Collection, circa 1945-1999, NMAH.AC.1177
National Photographic Society Records, 1942-1986, NMAH.AC.0681
National Press Photographers Association Oral Histories, 1957-1968, NMAH.AC.0620
National Zoo Training Films Collection, 1968-1981, NMAH.AC.0685
Native Peoples Musicians and Music Collection, 1880-1975, NMAH.AC.1512
Navroze Contractor Photograph Collection, 1978-1995, NMAH.AC.0569
Pictorial History of NBC Engineering Department: Photograph Album, 1946-1979, NMAH.AC.0738
Lopez Negrete Communications Advertising Collection, 1988-2015, NMAH.AC.1413
Malcolm H. Nelsen Collection of Railroad Labor Union Materials, 1950s-1960s, NMAH.AC.1173
Saul Nesbitt Papers, 1951-1984, NMAH.AC.1275
Tom Newby Innovative Lives and Oral History, August 5, 2006, NMAH.AC.0941
New England Gravestone Imagery Collection, circa 1650-1815, NMAH.AC.0658
New England Merchant and Farmer Account Book, 1813-1859, NMAH.AC.0039
Earl Newman Collection of Monterey Jazz Festival Posters, 1963-2009, NMAH.AC.1207
Lou Newman Collection of Baseball Memorabilia, 1895-1999, NMAH.AC.0696
New York Central Railroad Valuation Negatives, 1918, NMAH.AC.1072
New York Medical Prescription Scrapbook, 1878-1879, NMAH.AC.0131
New York State Barge Canal Photographs, 1907-1913, NMAH.AC.1536
New York World's Fair Collection, 1939, NMAH.AC.0134
Niagara Falls Bridge Commission Records, 1848-1946 (bulk 1890-1929) NMAH.AC.1060
Niagara Falls Power Company Photographs, 1899-1919, NMAH.AC.0949
Niagara Railroad Negatives, circa 1880s-1920, NMAH.AC.1081
Nicaragua Canal Collection, 1890s, NMAH.AC.1550
James H. Nicholson Amateur Radio Collection, 1920-1970, NMAH.AC.0577
John Nicholson Papers, 1946-1947, NMAH.AC.1279
Nickerson and Collins Refrigeration Photographs, 1888-1928, and undated, NMAH.AC.1044
G. Charles Niemeyer Motion Picture Research Papers, circa 1960-1990, NMAH.AC.0679
Nike Advertising History Collection, 1958-1992, NMAH.AC.0448
Nineteenth Century Actor Photograph Collection, 1868-1897, NMAH.AC.0779
Louis S. Nixdorff 1928 Olympic Games Collection, 1926-1978, NMAH.AC.0443
Nobel Voices Video History Project, 2000-2001, NMAH.AC.0771
A. J. Noerager Collection, 1914-1940, NMAH.AC.0017
Norcross Greeting Card Collection, 1800-1981, NMAH.AC.0058
Nordic Ware Records, 1940-2006, NMAH.AC.0980
Nordberg Manufacturing Company Records, 1891-1947, NMAH.AC.0975
Arne Nordskog Collection, 1915-1924, NMAH.AC.0539
Isabel Norniella Papers, cicra 1969-2005, NMAH.AC.1417
Thomas Norrell Railroad Photographs Collection, circa 1840-circa 1960 (bulk 1870-1940), NMAH.AC.1174
Elwood Norris Innovative Lives Presentation and Oral History, March 10, 2007, NMAH.AC.1108
North American Water and Power Alliance Collection, 1964-1990, NMAH.AC.1052
Northern New York Telegraph & Telephone Company Records, 1881-1887, NMAH.AC.0099
Northern Pacific Railroad Bridge Construction Photograph Album, 1883-1884, NMAH.AC.1030
Northern Pacific Railway Photo Prints, 1880-1945, NMAH.AC.1067
Norton Grinding Machine Company Photographs, 1985, NMAH.AC.1551
Red Norvo Papers, 1932-1998, NMAH.AC.0858
Norwich Eaton Pharmaceuticals, Inc. Records, 1900-1985 (bulk 1920-1940s), NMAH.AC.0329
Kenneth T. Norwood Dam Slides, 1948-1973, NMAH.AC.1552
Bill Nye Papers, circa 1970-2014, NMAH.AC.1383
Edwin Nye Sundial Collection, undated, NMAH.AC.0671
K. K. Nygaard Papers, 1921-1986, NMAH.AC.0378
O
Ellen Ochoa Video Documentation, 1996, NMAH.AC.0595
Victor L. Ochoa Papers, circa 1894-1945, NMAH.AC.0590
Ocho y Media Collection, 1979-1999, NMAH.AC.1473
Rosalie O'Connell Photograph Album, 1912-1917, NMAH.AC.0187
Odex I Walking Robot Collection, 1973-1986, NMAH.AC.0203
Chico O'Farrill Papers, 1949, 1975, 1999, NMAH.AC.0892
Mamoru Oishi Papers, circa 1941-1962, NMAH.AC.1420
Earl Okin Collection of Duke Ellington Ephemera, 1933-1987, NMAH.AC.0391
Robert F. Olds Collection, 1918-1948, NMAH.AC.0231
Jules Olitski and Mark Golden Lecture, 1997, NMAH.AC.0632
G. Dwoyid Olmstead Photonegatives, 1941-1945, NMAH.AC.0270
Orange Bowl Collection, 1932-2009, NMAH.AC.1191
Hector and Norma Orcí Advertising Agency Records 1979-2016, NMAH.AC.1384
Edward J. Orth Memorial Archives of the World's Fair, 1835-1992, NMAH.AC.0560
Osteopathy Collection, 1887-1941, NMAH.AC.0021
Elaine Ostroff Universal Design Papers, 19605-2009, NMAH.AC.1356
P
Page Tractor Company Papers,1917-1982, NMAH.AC.1005
Charles Grafton Page Papers, 1844-1870, NMAH.AC.0933
Susie Paige Afro-American Greeting Card Collection, 1900-1984, NMAH.AC.0263
Paint By Numbers Collection, circa 1934-1957, NMAH.AC.0544
Panama Canal Commission Photo Negatives, 1903-circa 1939, NMAH.AC.1116
Paris Exposition Universelle Photo Prints, 1900, NMAH.AC.0373
Parke, Davis Research Laboratory Records, 1902-1950, NMAH.AC.0001
Jane Parker Cake Advertising Sample Book, 1947, NMAH.AC.0720
Shaun D. Parker Papers, 1984-2000, NMAH.AC.1204
John K. Partlett Agriculture Collection, 1859-2011, NMAH.AC.1225
Parsons, Brinckerhoff, Quade and Douglas Records, 1906-2003 (bulk 1906-1918), NMAH.AC.0969
Beverly Partridge Shopping Bag Collection, 1970s-1990, NMAH.AC0.493
F.R. Patch Manufacturing Company Records, circa 1890-1900, NMAH.AC.1553
Christina Patoski Holiday Photo Prints, circa 1973-1992, NMAH.AC.0508
Verna G. Patterson Comic Book Collection, 1901-1917, NMAH.AC.0106
Les Paul Videohistory Project Collection, 2005-2006, NMAH.AC.1121
Paul Steam-Heating System Company Records, 1894-1911, NMAH.AC.1554
Frank Paulin Photoprints, 1950s-1994 (bulk 1950-1960), NMAH.AC.1373
L.F. Pease Card Company Collection, 1908-1936, NMAH.AC.1251
Joseph Pedott Papers, circa 1976-2005, NMAH.AC.0898
Peery Typesetting Records, 1937-1959, NMAH.AC.0550
Pelton Water Wheel Collection, 1891-1987, NMAH.AC.1093
Anthony W. Pendergast Collection, 1920s-1970, NMAH.AC.0882
Penn Station, New York Photographs, 1904-1910, NMAH.AC.1048
Pennsylvania State Anthracite Mine Cave Commission Report, 1912-1913, NMAH.AC.0180
Pepsi-Cola Advertising Collection, 1902-1982, NMAH.AC.0092
Pepsi Generation Oral History & Documentation Collection, 1938-1986, NMAH.AC.0111
Dean F. Petersen Collection, 1952-1977, NMAH.AC.0967
Anne E. Peterson Stereograph Collection, circa 1893-1904, NMAH.AC.0402
William Pettit Correspondence, 1864-1865, NMAH.AC.0177
Phelps-Dodge Collection, 1914-1916, NMAH.AC.1555
Philadelphia Industrial Sites Photographs, 1927, NMAH.AC.1556
Philadelphia & Reading Coal & Iron Company Records, 1866-1927, NMAH.AC.0282
Philadelphia & Reading Railroad Company Records, 1860-1936, NMAH.AC.0208
Philadelphia Theater Plat Book, 1911-1913, NMAH.AC.1318
Philadelphia Typewriter Company Records, 1886-1902, NMAH.AC.0123
Philanthropy Oral History Collection, 2017-2018, NMAH.AC.1582
Van Phillips Oral History and Papers, 1991-2004, NMAH.AC.0859
William Phillips Innovative Lives Presentation, 2001, NMAH.AC.0770
PhoneTel Collection, 1954-1994, NMAH.AC.874
Greenleaf Pickard Notebooks and Nikola Tesla Patents, 1898-1941, NMAH.AC.0915
Captain Henry Piercy Property Account, 1793-1799, NMAH.AC.0041
Andre Piette Collection, 1954-1979, NMAH.AC.0129
Pillsbury Company Bake-Off Collection, 1933-1998, NMAH.AC.0690
Pioneers of Plastic Audiotapes, 1952-1968, NMAH.AC.1235
Pipes and Tobacco Scrapbooks, 1930s-1950s, NMAH.AC.0159
Pittsburgh, Cincinnati, Chicago and St. Louis Railroad Photographs, 1925-1928, NMAH.AC.1079
Pittsburgh & West Virginia Railway Company Drawings, 1948-1950, NMAH.AC.0279
Pittsburgh Consolidation Coal Company photographs and other materials, 1885-1940s NMAH.AC.1007
Pittsburgh Locomotive Works Records, 1874-1910, NMAH.AC.0164
David Plowden North American Bridge Photographs, 1970-1976, NMAH.AC.1019
David Plowden Steel Manufacturing Photographs, 1981, NMAH.AC.1020
Benjamin Pollard Letter Book, 1787-1792, NMAH.AC.0035
Political Machines: Innovations in Campaigns and Elections, 2012, NMAH.AC.1364
Shirley Polykoff Oral History Interview, 1990, NMAH.AC.0474
Ithiel de Sola Pool Collection, 1919-1984, NMAH.AC.0713
Chuck Popenoe Documentation Project, 2008-2011, NMAH.AC.1281
Helen Popenoe Paper Doll Collection, 1942-1947, NMAH.AC.1156
Sherman Poppen Papers, 1966-2008, NMAH.AC.1159
Portrait of Invention: The Color Revolution, September 25, 2012, NMAH.AC.1301
"Potomac: East and West" Photo Prints, 1991, NMAH.AC.0441
Charles Richardson Pratt Papers, 1860-1935, bulk 1910-1924, NMAH.AC.0958
Pratt & Whitney Company Scrapbook, 1897-1906, NMAH.AC.0093
Pratt, Read Corporation Records, 1839-1990, NMAH.AC.0320
Timothy Prescott's Lesson Book, 1803, NMAH.AC.0032
Dick Price Collection of Ice Show and Ice Skating Memorabilia, 1936-1999, NMAH.AC.1206
Edwin Price Reminiscences, 1893, NMAH.AC.0070
Phil Primark New England Country Fairs Photographs, 1978-1983, NMAH.AC.1497
Princeton University Poster Collection, circa 1906-1950, NMAH.AC.0433
Priscilla of Boston Collection, 1940-1996, NMAH.AC.0557
Procter & Gamble Company Product Packaging Collection, 1940s-1970s, NMAH.AC.0836
Product Cookbooks Collection, circa 1874-2009, NMAH.AC.0396
Program in African American Culture Collection, 1979-1986, NMAH.AC.0408
Project Bionics Artificial Organ Documentation Collection, 2002, NMAH.AC.0841
Providence Engineering Works Records, 1881-1923, 1933, NMAH.AC.1076
Providence & Worcester Railroad Repair Shop Account Book, 1851-1899, NMAH.AC.0154
Tito Puente Papers, 1962-2001, NMAH.AC.0894
Puerto Rico Division of Community Education Poster Collection, 1940-1990, NMAH.AC.0615
Puerto Rico Roadbuilding Photograph Album, 1900-1945, NMAH.AC.1557
Pullman Palace Car Company Collection, 1867-1982 (bulk 1900-1930s), NMAH.AC.0181
Pullman Palace Car Company Photographs, circa 1882-1955, NMAH.AC.1175
Q
Quartermaster Corps Outfitted to Fight: Video Documentation, 1995, NMAH.AC.0608
William H. Quealy Collection of Duke Ellington Recordings, 1950-1970, NMAH.AC.0296
Quebec Bridge Photograph Collection, 1905-1986 (bulk 1905-1916), NMAH.AC.1026
James W. Queen & Company Collection, 1850-1952, NMAH.AC.0015
Manuel Quiles Films, 1944-1947, NMAH.AC.0765
Quince Años Documentation, 1985-2000, NMAH.AC.1163
R
Jacob Rabinow Papers, 1947-1990, NMAH.AC.0403
Lloyd F. Rader Papers, 1925-1979, NMAH.AC.0952
Boyd Raeburn Papers, circa 1942-1949, NMAH.AC.1431
Railroad Bridges Construction Photograph Album, circa 1905-1914, NMAH.AC.1024
Railroad History Collection of America, 11867-2000, bulk 1970s, NMAH AC 1327
Railroad Station Historical Society Collection, 1856-2004, NMAH.AC.1558
Railroad Trade Literature Collection, 1861-1994, NMAH.AC.1136
Railway Express Agency Records, 1860-1970, NMAH.AC.0260
Ramsay Family Papers, 1749-1924, 1957, NMAH.AC.0088
Mr. & Mrs. F. F. Randolph Poster Collection, 1923-1950s, NMAH.AC.0876
Evan Rangeloff Collection of Liggett & Myers Tobacco Sales Materials, circa 1955-1991, NMAH.AC.0716
William F. Rapp Photographs, 1907-1998, NMAH.AC.1559
Ken Rattenbury Collection, 1967-1991, NMAH.AC.0432
William Rau Steamship Collection, circa 1900-2007, NMAH.AC.1307
Bernice Johnson Reagon Collection of African American Sacred Music, circa 1822-1994, NMAH.AC.0653
Jose L. Hernandez-Rebollar Innovative Lives Program, 2005, NMAH.AC.0917
Recollections of Leonard Becker, 1976, NMAH.AC.0248
Reddy Kilowatt Records, 1926-1999, NMAH.AC.0913
Samuel Reed Bridge Collection, 1947-1964, NMAH.AC.1001
Daniella Reichstetter Innovative Lives Presentation, 2011, NMAH.AC.1254
Lili Rethi Papers, 1981-1969, NMAH.AC.0749
Revlon Advertising Collection, 1936-1986, NMAH.AC.0939
Corbett Reynolds Papers, 1962-2015, NMAH.AC.1390
Nick Reynolds Kingston Trio Papers 1950-2014, NMAH.AC.1472
Rhode Island Jewelry Design Collection, 1944-2009, NMAH.AC.1505
Robert B. Rice Film Collection, 1936-1945, NMAH.AC.0308
Robert B. Rice Papers, 1915-1954, NMAH.AC.0322
Linda Richards Correspondence, 1886-1890, NMAH.AC.0221
Oscar W. Richards Collection, 1923-1988, NMAH.AC.0343
Mattie Keel Riner Postcard Collection, 1912-1915, 1932, NMAH.AC.0629
Charles Rivers Photographs, 1929-1963 (mostly 1929-1930), NMAH.AC.0360
Mary Ann Whitaker Robinson Student Nursing Papers, 1955-1959, 1985, NMAH.AC.0499
Holton Duncan Robinson Papers, 1889-1938, NMAH.AC.0963
Robinson & Steinman Photographs, 1884-1954, NMAH.AC.1562
Robinson-Via Family Papers, 1845-2000, NMAH.AC.0475
Jack Robrecht Collection of Firefighting Photographs, 1852-1983, NMAH.AC.1231
Rock 'n' Soul Project Collection, 1990-2000, NMAH.AC.0879
Lawrence Robbins Water Mill Photographs, 1916-1917, NMAH.AC.0995
Seymour Robins Papers, 1962-1992, NMAH.AC.1270
David Hadley Rockwell New York Disco Ephemera Collection, circa 1980-2004, NMAH.AC.1342
Teresa Rodríguez Papers, 1964-2010, bulk, 1980-2010NMAH.AC.1608
John A. Roebling Collection, 1836-1975 (bulk 1930-1950), NMAH.AC.0981
Harold R. D. Roess Papers, circa 1920-1964, NMAH.AC.0048
Dawn V. Rogala Circus Photographs and Papers, 1992-1999, NMAH.AC.1427
John B. Rogers Producing Company Collection, 1929-1934, NMAH.AC.0245
Marjorie Last Rogers Tupperware Records, 1951-1953, NMAH.AC.1500
Henry Romeike Clipping Scrapbook, 1856-1916, NMAH.AC.0338
Fred S. Rosenau Papers, 1944-1945, NMAH.AC.0478
Mel Rosenthal Photographs, 1985- NMAH.AC.1307
Donald Rouland Ephemera Collection, circa 1940-1990, NMAH.AC.0705
History of the Royal Hawaiian Band Collection, 1836-1980, NMAH.AC.0361
Lloyd Rucker Photographs of Lionel Hampton, 1940-1990, NMAH.AC.1436
Lucinda Rudell Covered Bridges Collection, 1942-1986, NMAH.AC.1028
Bob Rule Papers, circa 1950-2002, NMAH.AC.0855
James Rumsey Bill, 1786, NMAH.AC.0087
James Rumsey Promissory Note, 1788, NMAH.AC.0216
Russian Easter Egg Patterns, 1888-1896, NMAH.AC.0778
William Russo Music and Personal Papers, 1920-2003, NMAH.AC.0845
William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music, undated, NMAH.AC.0406
Edwin G. Rust Papers, 1890-1928, NMAH.AC.1070
Rutgers University Collection of Radio Interviews about Duke Ellington, 1971-1986, NMAH.AC.0328
Rutgers University NEA Jazz Oral History Project, 1974-1984, NMAH.AC.0327
Lewis M. Rutherfurd Collection, 1846-1884, NMAH.AC.0364
Frank J. Ryan Sports Training Collection, 1936-1982, NMAH.AC.0871
Ryder Mobile Homes Park Collection, 1920s-2001, NMAH.AC.0777
Joel Ryder Cyphering Books, 1792-1793, NMAH.AC.0089
S
S. S. White Dental Manufacturing Company/Brooks Typewriter Company Records, 1890-1897, NMAH.AC.0365
Charlotte Cramer Sachs Papers, 1905-2002, NMAH.AC.0878
Terry M. Sachs Collection, 1965-1971, NMAH.AC.0238
Safko International, Inc. Records, 1984-1998, NMAH.AC.0911
Costa Sakalleriou Photoprints, 2015-2017, NMAH.AC.1456
The Salem China Company Collection, 1930s-1981, NMAH.AC.0325
Polly Salmon Account Book, 1785-1787, NMAH.AC.0040
Leona Sanders Midwife's Record Book, 1942-1948, NMAH.AC.1524
Sheila Salo Gypsy Photographs, 1973-1979, NMAH.AC.0357
Sandford Greeting Card Company and Family Papers, circa 1840-1990, NMAH.AC.1252
Fernando Sandoval Washington, D.C. Photo Prints, 1970s-2000, 2008, NMAH.AC.1155
Mongo Santamaria Papers, 1965-2001, NMAH.AC.0893
Robert Sardino Movie Theater Collection, 1953-1981, NMAH.AC.1471
John L. Savage Papers, 1944, NMAH.AC.0227
William J. Savage Company Records, 1914-1937, NMAH.AC.0991
David Savidge Papers, 1950-1958, NMAH.AC.0633
William Sawyer manuscript history of the Corliss steam-engine, 1988, NMAH.AC.1329
Serge A. Scherbatskoy Papers, circa 1925-2002 (bulk 1970s-1990s), NMAH.AC.0936
Duncan P. Schiedt Photograph Collection, circa 1900-2012, NMAH.AC.1323
Frank Schiffman Apollo Theatre Collection, 1933-1974, NMAH.AC.0540
Joseph Schillinger Collection, bulk 1940-1941, 1985 NMAH.AC.0162
Leslie Schinella Collection of Gene Krupa Materials, 1945-1970, NMAH.AC.1220
Helen Louise Schneider Baby Beauty Contests Photo Album, 1922-1941, NMAH.AC.1494
Jes Wilhelm Schlaikjer Poster Collection, 1942-1952, NMAH.AC.0546
Roy Schultz Collection of Underwood and Underwood Photographs, 1902-1918, NMAH.AC.1330
Raymond Schwind Collection, 1904-1962, NMAH.AC.1069
Science Action Coordinating Committee (SACC) Papers, 1968-1969, NMAH.AC.0473
Scientist Portrait Collection, 1870-1900, NMAH.AC.0191
Scientists and Inventors Portrait File, 1950-1980, NMAH.AC.0315
Scrapbook of Comics, 1889-1900, NMAH.AC.0234
Scurlock Studio Records, circa 1905-1994, NMAH.AC.0618
Tim Scurlock Collection, 1920, 1996, NMAH.AC.1261
Sea Voyage Journal, 1884, NMAH.AC.0271
John A. Secor Papers, 1888-2922, NMAH.AC.1560
Jean W. Seele Rural Photographs, 1970s-1980s, NMAH.AC.0759
Mark Segal Papers, circa 1960-2017, NMAH.AC.1422
Emilio Segre Collection, 1942-1997, NMAH.AC.0691
Atherton Seidell Papers, circa 1932-1964, NMAH.AC.0449
Sendzimir Mill Video Documentation, 1996, NMAH.AC.0605
September 11 Exhibit Comment Cards, 2002-2003, NMAH.AC.0848
Michele M. Serros Papers, 1968-2012, NMAH.AC.1481
Service Members Legal Defense Network Records, 1975-2009 (bulk 1993-2008), NMAH.AC.1282
Adrien-Francois Servais Papers, 1842-1884, NMAH.AC.195
Servodyne Corporation Records, 1955-1971, NMAH.AC.0839
S. Prakash Sethi Advocacy Advertising Collection, 1970s-1980s, NMAH.AC.0168
Jacob Setley Papers and Daybook, 1832-1848, NMAH.AC.190
Frank Seymour Firefighting Ephemera Collection, 1852-1957, NMAH.AC.1232
Earl Shaffer Papers, 1803-2007, NMAH.AC.0828
The Shamrock Bar: Photographs and Interviews, 1997-2003, NMAH.AC.0857
Lester Shanks Collection of Covered Bridge Photographs and Ephemera, 1876-2010 (bulk 1973-2008), NMAH.AC.1244
SHARE Numerical Analysis Project Records, 1964-1970, NMAH.AC.0498
SHARE Records, 1955-1986, NMAH.AC.0567
Sharpe, Weiss and Company Records, 1854-1889, NMAH.AC.0399
Dorothy Shaver Papers, circa 1922-1959, NMAH.AC.0631
John Clifford Shaw Papers, 1933-1991, NMAH.AC.0580
Walter Shearer Pamphlet Collection, 1948-1973, NMAH.AC.0347
Charles Sheldon Papers, 1902-1959, NMAH.AC.1423
Sheldon-Claire Company Records, 1926-1968, NMAH.AC.0768
Dr. Theodore Shell Collection of Duke Ellington Ephemera, 1933-1990, NMAH.AC.0502
Matthew Shepard Papers, 1976-2018, NMAH.AC.1463
Patsy Sherman Video Documentation, 1997, NMAH.AC.0599
Saburo Shimono Papers, 1948-2013, NMAH.AC.1379
Floyd Shimomura Papers, circa 1978-2004 (bulk 1981-1984) NMAH.AC.1376
Bobby Short Papers, 1908, 1934-2005, NMAH.AC.0946
Shriners Hospital Patient Isolation Unit Records, 1956-1981 (bulk 1969-1972), NMAH.AC.1142
Robert L. Shurr Script and Scrapbook for the Motion Picture George Washington Carver, NMAH.AC.0133
George Sidney Collection, 1885-2002 (bulk 1940-1967), NMAH.AC.0867
Jack Siefert Woody Herman Collection, 1913-1990, NMAH.AC.0659
Horace Silver Collection, 1981-1998, NMAH.AC.0737
Simmons Company Records, 1900-1997 (bulk 1920-1980), NMAH.AC.0731
George W. Sims Papers, 1896-1981, NMAH.AC.0127
Singer Industrial Design Collection, 1927-1983 (bulk 1960-1977), NMAH.AC.169
Jonathan Singer Photographs: Digital Photographic Prints, 2011, NMAH.AC.1243
Sioux City Ghosts Collection, 1920s-1983, NMAH.AC.0634
Nancy Sirkis Digital Photo Prints, circa 2008-2009, NMAH.AC.1186
Skinner Engine Company Records, 1880-1960, NMAH.AC.1087
Lenora Slaughter Papers, 1935-2003, NMAH.AC.1227
Slover Puppeteer Collection, 1880-1990, NMAH.AC.1464
Records of Small Beginnings, Inc.,1986-2006, NMAH.AC.0940
Eugene D. Smallwood Gospel Music Collection, 1931-1945, NMAH.AC.0456
Alexander Smith Account and Letter Book, 1792-1797, NMAH.AC.0083
B. Thomas Smith Minstrel Show Posters, undated, NMAH.AC.1409
Ernie Smith Jazz Film Collection, 1894-1979, NMAH.AC.0491
Gordon R. Smith Kentucky Photo Prints, 1994, NMAH.AC.0700
Lawrence Talma Smith Papers, circa 1927-1966, NMAH.AC.0988
Lawrence V. Smith Photographic Collection, 1970s-2009, NMAH.AC.1314
Loretta Thomsen Smith Picture Postcard Collection, 1900-1970, NMAH.AC.0147
S. Morgan Smith Company Records, 1890-1914, NMAH.AC.1099
Walker R. Smith Rural Maryland Photo Prints, 1936-1991, NMAH.AC.0446
Willie Smith Collection, 1945-1987, NMAH.AC.0382
Smithsonian Jazz Oral History Program Collection, 1992-2012, NMAH.AC.0808
Smithsonian Speech Synthesis History Project Collection, circa 1991, NMAH.AC.0417
Smithsonian Underwater Archaeology Film Collection, 1960s, NMAH.AC.0262
Smithsonian World/WETA "Selling the Dream" Collection, 1990-1991, NMAH.AC.0418
Smothers Brothers Collection, 1937-2003 (bulk 1960-1990) NMAH.AC.1437
Snake River Irrigation Project Photo Album, 1912, NMAH.AC.1031
J. Parker Snow Collection, 1882-1933 (bulk 1930-1933), NMAH.AC.1000
Snyder Associates, Inc., Collection, 1981-1982, NMAH.AC.1561
Society for Industrial Archaeology Records, 1968-2000, NMAH.AC.0688
Society for the History of Technology (SHOT) Records, 1956-2012, NMAH.AC.0400
Sofranoff Collection, circa 1930s-1990, NMAH.AC.0564
Sohmer & Company Records, 1872-1989, NMAH.AC.349
Roy Soltoff Collection, 1978-1984, NMAH.AC.275
Stephen Somerstein Selma to Montgomery Civil Rights March Photographs, 1965, NMAH.AC.1300
Something Ventured Film Transcripts, 2008-2010, NMAH.AC.1467
Sosa, Bromley and Aguilar and Associates Records, 1981-1997, NMAH.AC.1351
Soul Train Music Awards Records, 1987-2004, NMAH.AC.1223
John Souther Collection, 1867-1918, NMAH.AC.953
Southern Agriculture Oral History Project Records, 1986-1991, NMAH.AC.773
Southern Iron & Equipment Company Records, 1903-1960, NMAH.AC.0354
Merrie Spaeth Collection of "Davy Crockett" Trading Cards, 1956, NMAH.AC.0873
Spanish-American War Peace Jubilee Scrapbook, 1899, NMAH.AC.0460
Spanish Language Broadcasting Collection, 1940-2017, NMAH.AC.1404
Kenneth H. Sparnon Collection, 1912-1961, NMAH.AC.0064
Sperry Rail Detector Car Collection, 1928-1985, NMAH.AC.0497
Mortimer Spiller Company Records, 1954-1989, NMAH.AC.1387
Spokeswoman Magazine Printed Materials, 1972-1980, NMAH.AC.0931
Sproul Observatory Astronomers Photo Prints, 1916-1975, NMAH.AC.251
Norman W. Squires Collection, 1908-2006, undated NMAH.AC. 927
St. Felix Sisters Scrapbook, 1880-1904, NMAH.AC.294
Stag's Leap Wine Cellars Documentation Project, 1960-2006, 2019, NMAH.AC.0816
Stall and Dean Company Records, 1898-1998, NMAH.AC.0669
Standards Western Automatic Computer Circuit Notebooks, 1946-1952, NMAH.AC.1217
Stanley Home Products Company Records, 1896-1999 (bulk: 1960s-1970s), NMAH.AC.0788
Benjamin H. Stansbury Papers, 1955-1995, NMAH.AC.1350
Jean Stapleton Papers, 1906-2014, NMAH.AC.1424
A.B. Starr Mechanical Engineering Lab Reports, 1905-1906, NMAH.AC.1034
Clyde W. Stauffer Family Photograph Album, 1935-1940, NMAH.AC.0139
Lili St. Cyr Papers, 1917-1999, NMAH.AC.1451
R. Wallace Steel Papers, 1864-1903, NMAH.AC.1449
Richard Steele Papers, 1948-1963, NMAH.AC.0080
Enoch Steen Collection, 1888-1972, NMAH.AC.0206
Sally L. Steinberg Collection of Doughnut Ephemera, 1920s-1987, NMAH.AC.0439
Steinway & Sons Records and Family Papers, 1857-1919, NMAH.AC.0178
F. W. Stemmler Letterpress Book, 1895-1897, NMAH.AC.0336
John Stephenson Company Photograph Album, 1888, NMAH.AC.1576
Stereo Photographers Stereographs, 1893-1904, NMAH.AC.414
Sterling Drug, Inc. Records, 1867-1993, NMAH.AC.0772
Jane and Michael Stern Collection, circa 1920-2015, NMAH.AC.1392
John Stevens Collection, 1808-1881, NMAH.AC.333
Chuck Stewart Jazz Photographs, 1964-1971, NMAH.AC.1321
Rex Stewart Papers, circa 1875-1905, 1924-1988, NMAH.AC.0424
Beatrice Morgan Steyskal Collection of Greeting Cards, 1958-1970, NMAH.AC.1198
W.B. Stine Panama Canal Papers, 1904-1911, NMAH.AC.1039
W. Royal Stokes Collection of Music Publicity Photo Prints, circa 1970-2000, NMAH.AC.0766
William D. Stone General Store Ledger and Papers, 1865-2003 (bulk 1865), NMAH.AC.1358
William R. Stone Microwave Oven Papers, 1967-1985, NMAH.AC.1320
C. L. Stong Papers, 1952-1976, NMAH.AC.0012
Stover Family Migrant Farming Collection, 1942-2018, bulk 1942-1946, NMAH.AC.1483
Paul R. Strain Columbian Exposition Diary, 1893, NMAH.AC.0330
Strand Theatre Collection, 1927-1943, NMAH.AC.1490
Rob and Julie Strasser Collection, 1970-1989, NMAH.AC.0525
Alan Strauber Photo Prints, circa 1990-1999, NMAH.AC.0517
Billy Strayhorn Ephemera Collection, 1965-1969, NMAH.AC.0383
Lloyd A. Strickland Collection of 1936 Olympics Souvenir Materials, 1936, NMAH.AC.0743
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1843-2010, NMAH.AC.1211
Leon Stuck Photo Album, 1927-1928, NMAH.AC.1008
Robert Studebaker Oral History, 1998, NMAH.AC.0670
James Stutsman Band Book Collection, 1875, NMAH.AC.0258
Jose Sueiro Collection of Washington, D.C. Spanish Language Newspapers, 1982-1987 (bulk 1985-1987), NMAH.AC.1235
W. Oscar Sullivan Papers, 1900-1960, NMAH.AC.0072
Donald H. Sultner-Welles Collection, 1790-1981, NMAH.AC.0145
Sumner Hosiery Mill Records, 1946-1957, NMAH.AC.0719
Ming-Ju Sun Garfinkel's Fashion Drawings, 1972-2002, NMAH.AC.0897
Superconducting Super Collider Collection, 1985-1992, NMAH.AC.0538
Superman Comic Book Collection, 1930s-1985, NMAH.AC.0274
Surveying Book, 1807, NMAH.AC.0034
Fannie Sutter Photograph Album, 1919-1921, NMAH.AC.1325
John G. Sutton Papers, circa 1903-1961, NMAH.AC.0994
Janese Swanson Innovative Lives Presentation and Oral History, 1998, NMAH.AC.0642
Swatara Railroad Papers, 1805-1894, NMAH.AC.0272
Kenneth M. Swezey Papers, 1891-1988, NMAH.AC.0047
Marshall Sylvia Amateur Snapshot Collection, 1936-1937, NMAH.AC.0319
Syntex Collection of Pharmaceutical Advertisements, 1962-1978, NMAH.AC.0821
Louis Szalay Advertising Art Collection, 1965-1968, NMAH.AC. 0412
T
Charles Sumner Tainter Papers, 1878-1937, NMAH.AC.0124
"Tantalus" Synchrotron Radiation Source Collection, 1940-1995, NMAH.AC.0532
Target Stores Collection of Fashion Advertising using Disabled Models, 1990-1991, NMAH.AC.0436
Arthur Taussig "The Museum Project" Photoprints, circa 1995-2015, NMAH.AC.1396
David Taylor Model Basin Collection, 1856, 1878, 1925-1971 (bulk 1940s), NMAH.AC.1563
Telescoping Shopping Cart Collection, 1946-1983, 2000, NMAH.AC.0739
William Dandridge Terrell Papers, 1911-1965, NMAH.AC.0097
Texas Instruments Reference Collection, 1950-1985, NMAH.AC.0697
Theatre Program Scrapbooks, 1893-1948, undated (bulk 1897-1918), NMAH.AC.1205
Art Thieme Folk Music Slides, circa 1960s-1990s, NMAH.AC.1239
Records of Think Surgical, Inc., 1983-2014, NMAH.AC.1378
Thomajan Advertising Collection, 1951-1967, NMAH.AC.0643
John Thomas Collection of TV Commercials, circa 1960s-1970s (bulk 1972-1976), NMAH.AC.1324
Seth Thomas Clock Company Records, 1835-1928, NMAH.AC.0627
Thompson Products Company Calendar Lithographs, 1976-1986, NMAH.AC.0574
Elihu Thomson Collection, 1900-1932, NMAH.AC.0103
3M Megaphone Collection, 1941-1977, NMAH.AC.1322
Thrivent Financial Collection, 1902-2014, NMAH.AC.1418
Timken Roller Bearing Company Collection, 1925-1957, NMAH.AC.0380
T-Net Records, 1983-2003, NMAH.AC.1255
S. Topalian Photo Prints, 1920s-1940s, NMAH.AC.0309
Vernon Torrence Collection, 1930-1957, NMAH.AC.0717
Bishop Mitsumyo Tottori Memorial Notebooks, 1943-2003, NMAH.AC.0926
Charles Townes Oral History, 1998, NMAH.AC.0673
Toussaint Louverture Collection, 1801-1805, undated, NMAH.AC.0781
Trade School Photographs, 1890, NMAH.AC.0141
Transportation Nitrate Negatives, 1925-1930, NMAH.AC.0790
Michael Travis Costume Design Collection, 1946-1987, NMAH.AC.1347
Treadwell Account Books, 1861-1865, NMAH.AC.26
Elmer Treloar Collection of Railroad Station Negatives, 1970-1973, NMAH.AC.1078
Charles W. Trigg Papers, 1834-1961, NMAH.AC.0411
Cyrus Trobbe Music Collection, circa 1900-1982, NMAH.AC.0242
Joseph Trueman Thompson Papers, 1924-1945, 1961, NMAH.AC.1564
Bobby Tucker Papers, 1949-1990, NMAH.AC.1141
Tommy Tucker the Squirrel Photographs and Ephemera, 1944-1954, NMAH.AC.1286
John R. Tumpak Big Band Oral History Collection, 1995-2007, NMAH.AC.1215
Kevin M. Tuohy Papers, 1897-1959, NMAH.AC.0317
Earl S. Tupper Papers, 1908-1989, 2003, NMAH.AC.0470
Turner Machine Company Collection, 1920s, NMAH.AC.1565
Lynn Turner Family Photographs, 1865-1918, NMAH.AC.210
Henry Grattan Tyrrell and Mary Maude Knox Tyrrell Papers, 1886-1941, NMAH.AC0.948
U
Undocumented Organizing Oral History Collection, 2019-2020, NMAH.AC.1581
U.S. Army Special Services Collection, 1924, 1945-1971, NMAH.AC.0785
U.S. Savings Bond Stamps Collection, 1949-1970, NMAH.AC.0758
U.S. Steel Corporation Photograph Albums, NMAH.AC.1037
Robert Udkoff Collection of Duke Ellington Ephemera, 1924-1990, NMAH.AC.0388
Underwood & Underwood Agriculture Photo Negative Collection, 1930s-1940s, NMAH.AC.0219
Underwood & Underwood Glass Stereograph Collection, 1895-1921, NMAH.AC.0143
Union Cooper Mining Company Letterpress Copy Book, 1903-1905, NMAH.AC.1006
United Shoe Machinery Corporation Records, 1898-1987, NMAH.AC.0277
United States Capitol Dome Drawings, 1855-1862, NMAH.AC.1010
United States Department of Agriculture Building Construction Glass Plate Negatives, 1906-1907, NMAH.AC.1096
United States Fish Commission Records, 1871-1892, NMAH.AC.0256
University of Pennsylvania Dental Collection, 1885-1935, NMAH.AC.0025
Grayce Uyehara Papers, 1975-2005, NMAH.AC.1480
V
A.R. Van Tassell Photograph Albums, 1900-1956, NMAH.AC.1015
Alexander Van Valen Papers, 1849-1850, NMAH.AC.0935
Rip Van Winkle Bridge Photographs, 1933-1935, NMAH.AC.1027
Russell H. Varian Papers, 1937, NMAH.AC.0110
John George Vasquez Papers, 1942-2005, NMAH.AC.0942
Sarah Vaughan Memorial Program, 1990, NMAH.AC.0384
Charlie Ventura Collection, 1950-1994, NMAH.AC.1308
David Vetter Collection, 1971-1986, NMAH.AC.1133
Teodoro Vidal Collection, 1592-1992, NMAH.AC.0712
Video Game Pioneers Oral History Collection, 2017-2018, NMAH.AC.1498
Video Press Kits Collection, 1980-2000, NMAH.AC.0748
Manny Villafaña Papers, 1961-2014, NMAH.AC.1340
Dylan Vitone Panoramic Photographs, circa 2004-2007, NMAH.AC.1200
Joseph Vitone "Family Records", 1998-2004, NMAH.AC.0883
Diane Vogt-O'Connor Lantern Slide Collection, circa 1910, NMAH.AC.0280
Walter M. Voigt Brewing Industry Collection, 1935-1967, NMAH.AC.1195
W
Emile Waagenaar Photoprints of Cajun Musicians: digital prints, 1980-2008, NMAH.AC.1150
Wade Corset Collection, 1894-1906, bulk 1900-1906, NMAH.AC.1580
Wade in the Water Radio Series Collection, 1994, NMAH.AC.0516
Wagner Palace Car Company Collection, undated, NMAH.AC.1574
Wagon-Maker's Account Book, 1834-1869, NMAH.AC.0151
Wainwright Family Papers, 1777-1893, NMAH.AC.0244
Hal Walker Innovative Lives Presentation, 1995, NMAH.AC.0602
Dr. Jerome Walker Papers, 1864-1917, NMAH.AC.1408
John B. Walker Cut-Outs Collection, 1815-1908, NMAH.AC0.249
WANN Radio Station Records, 1946-1997, NMAH.AC.0800
War Production Board Records, 1943-1945, NMAH.AC.0341
Marcus Ward & Company News clipping Scrapbooks, 1800-1899, NMAH.AC.0037
Ward's Garage Records, 1946-1962, NMAH.AC.0783
Frank H. Waring Papers, 1959-1993, NMAH.AC.0895
Harry Warnecke New York News Sunday Coloroto Magazines, 1942-1969, NMAH.AC.0664
Warner & Swasey Company, circa 1887-1963, NMAH.AC.1566
Harry Warren Collection, 1909-2000, NMAH.AC.0750
Warshaw Collection of Business Americana, 1724-1965, NMAH.AC.0060
Washburn Wire Company, Inc. Collection, 1934-1979, NMAH.AC.0074
Washington Cathedral Stained Glass Collection, 1928-1933, NMAH.AC.0090
Washington, D.C.: Photoprints, 1990-1996, NMAH.AC.0805
Washington Navy Yard Optical Shop Photo prints, 1940s-1961, NMAH.AC.0252
Washington Postcards, circa 1906, NMAH.AC.0413
Washington Society of Engineers Records, 1905-1985, NMAH.AC.0972
Washington Steel Company Records, 1940-1960, NMAH.AC.1443
Washington Steel Film Collection, 1957-1966, NMAH.AC.0730
Colonel William Augustine Washington Papers, 1789-1840, NMAH.AC.0174
Washington, D.C. Bridges Collection, 1900-1905, NMAH.AC.1095
Paul G. Watson Collection, 1960-1965, NMAH.AC.0104
Alice Weber Photograph Albums, 1945-1948, NMAH.AC.1144
Martin J. Weber Graphic Arts Collection, 1931-1980, NMAH.AC.1209
Records of Wedge Innovations, 1985-1996, NMAH.AC.0534
Robert Lee Weide Photographs, 1910-1933, NMAH.AC.1012
Leon Weinraub Chicago World's Fair Scrapbook, 1933, NMAH.AC.0746
Audrey Wells "Women in Jazz" Radio Series, 1981-1982, NMAH.AC.0899
Carl Auer von Welsbach Letter, 1890, NMAH.AC.0438
Carlos de Wendler-Funaro Gypsy Research Collection, circa 1920-1975, NMAH.AC.0161
West Coast Computer Faire Collection, 1977, 1980, NMAH.AC.1118
Westerbrook Theatre Corporation Records, 1934-1950, NMAH.AC.1296
West Virginia General Store Daybook, 1879-1880, NMAH.AC.0142
Western Electric Company Photograph Album, 1925, NMAH.AC.1036
Western Union Telegraph Company Records, 1820-1995, NMAH.AC.0205
Westinghouse Electric and Manufacturing Company Records, 1881-1950, NMAH.AC.0977
Westinghouse Philippines Power Mission Photo Album, 1947 NMAH.AC.1035
Robert Wetherill Company Records, circa 1875-1930, NMAH.AC.0992
Tom Whaley Collection, 1941-1979, NMAH.AC.0652
Wheeling and Lake Erie Railway Photographs, 1925-1942, NMAH.AC.1075
Whirlwind Computer Collection, 1945-1959, NMAH.AC.0290
Charles Baldwin White Trademark Collection, 1920-1940, NMAH.AC.0182
White, Edmunds, and Fallen Family Papers, 1909 (bulk 1945-1979), NMAH.AC.1444
John Whitman Christmas Diskette Collection, 1983, NMAH.AC.0091
Whitman's Chocolates Collection, 1878-1954, NMAH.AC.0437
Baxter D. Whitney Collection, 1870-1957, NMAH.AC.0267
George Eli Whitney Papers, 1898-1957, NMAH.AC.0463
Whitney Dam (Yadkin River, North Carolina) Photograph Collection, 1903-1919, undated, NMAH.AC.1568
"Who's in Charge?" Exhibition Memory Books, 1996, NMAH.AC.0649
Virgil Whyte "All-Girl" Band Collection, 1942-1948, 1991-1993, NMAH.AC.0503
Nathaniel Greene Wilcox Collection, 1843-1892, 1921, NMAH.AC.0030
John Wiley Appalachian Trail Lantern Slides and Maps, 1904-1953, NMAH.AC.1194
J. Walter Wilkinson Papers, 1932-1935, 1940-1964, 1985-1987, NMAH.AC.0116
Claude Williams Papers, circa 1920-2004, NMAH.AC.0909
Willow Grove Park Association Collection, 1910, 1929, NMAH.AC.0362
Willys-Overland Company Photographs, 1914-1917, NMAH.AC.1442
Raymond E. Wilson Covered Bridge Collection, 1912-1980, NMAH.AC.0999
Ross Winans' Letter book, 1850-1851, NMAH.AC.0155
Windsor & Ford Business Records, 1859-1906, NMAH.AC.0019
Armand G. Winfield Papers, 1960-1980, NMAH.AC.1271
Dr. Randolph Winslow Collection, 1868-1924, NMAH.AC.0150
Joseph Pope Winslow Diary, 1876, NMAH.AC.0467
Winton-Anderson Scrapbook Collection, 1890s-1920s, N
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The Chico Hamilton Trio The Chico Hamilton Trio Vinyl LP
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[
"The Chico Hamilton Trio",
"The Chico Hamilton Trio The Chico Hamilton Trio Vinyl LP USED"
] | null |
[
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"ben chenoweth"
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When you visit the Site, we automatically collect certain information about your device, including information about your web browser, IP address, time zone, and some of the cookies that are installed on your device. Additionally, as you browse the Site, we collect information about the individual web pages or products that you view, what websites or search terms referred you to the Site, and information about how you interact with the Site. We refer to this automatically-collected information as “Device Information”.
We collect Device Information using the following technologies:
- “Cookies” are data files that are placed on your device or computer and often include an anonymous unique identifier. For more information about cookies, and how to disable cookies, visit http://www.allaboutcookies.org.
- “Log files” track actions occurring on the Site, and collect data including your IP address, browser type, Internet service provider, referring/exit pages, and date/time stamps.
- “Web beacons”, “tags”, and “pixels” are electronic files used to record information about how you browse the Site.
Additionally when you make a purchase or attempt to make a purchase through the Site, we collect certain information from you, including your name, billing address, shipping address, payment information (including credit card numbers), email address, and phone number. We refer to this information as “Order Information”.
When we talk about “Personal Information” in this Privacy Policy, we are talking both about Device Information and Order Information.
How do we use your personal information?
We use the Order Information that we collect generally to fulfill any orders placed through the Site (including processing your payment information, arranging for shipping, and providing you with invoices and/or order confirmations). Additionally, we use this Order Information to:
- Communicate with you;
- Screen our orders for potential risk or fraud; and
- When in line with the preferences you have shared with us, provide you with information or advertising relating to our products or services.
We use the Device Information that we collect to help us screen for potential risk and fraud (in particular, your IP address), and more generally to improve and optimize our Site (for example, by generating analytics about how our customers browse and interact with the Site, and to assess the success of our marketing and advertising campaigns).
Sharing you personal Information
We share your Personal Information with third parties to help us use your Personal Information, as described above. For example, we use Neto to power our online store. We also use Google Analytics to help us understand how our customers use the Site -- you can read more about how Google uses your Personal Information here: https://www.google.com/intl/en/policies/privacy/. You can also opt-out of Google Analytics here: https://tools.google.com/dlpage/gaoptout.
Finally, we may also share your Personal Information to comply with applicable laws and regulations, to respond to a subpoena, search warrant or other lawful request for information we receive, or to otherwise protect our rights.
Behavioural advertising
As described above, we use your Personal Information to provide you with targeted advertisements or marketing communications we believe may be of interest to you. For more information about how targeted advertising works, you can visit the Network Advertising Initiative’s (“NAI”) educational page at http://www.networkadvertising.org/understanding-online-advertising/how-does-it-work.
You can opt out of targeted advertising by using the links below:
- Facebook: https://www.facebook.com/settings/?tab=ads
- Google: https://www.google.com/settings/ads/anonymous
- Bing: https://advertise.bingads.microsoft.com/en-us/resources/policies/personalized-ads
Additionally, you can opt out of some of these services by visiting the Digital Advertising Alliance’s opt-out portal at: http://optout.aboutads.info/.
Do not track
Please note that we do not alter our Site’s data collection and use practices when we see a Do Not Track signal from your browser.
Your rights
If you are an Australian resident, you have the right to access personal information we hold about you and to ask that your personal information be corrected, updated, or deleted. If you would like to exercise this right, please contact us through the contact information below.
Additionally, if you are a European resident we note that we are processing your information in order to fulfill contracts we might have with you (for example if you make an order through the Site), or otherwise to pursue our legitimate business interests listed above. Additionally, please note that your information will be transferred outside of Australia.
Data retention
When you place an order through the Site, we will maintain your Order Information for our records unless and until you ask us to delete this information.
When you review us on Facebook, Google, or leave a review on the Site
We may publish your review, or the name attached to your review, on Facebook, Google, or the Site
Monthly random draw for $100 credit on a Discrepancy Records account
Each month we randomly draw a number of customers (those who have created an account with us or those that have registered their email address to receive our newsletter) to receive a $100 credit for use on the Discrepancy Records website for purchase of goods for sale. If you are drawn we will request permission to use your first name and first initial of your last name published on our Facebook page and Monthly Draw page on our website.
This draw is conducted in a secure enivironment selecting an identifier which can not be used to access your account and the data is deleted as soon as the draw has been conducted.
Changes
We may update this privacy policy from time to time in order to reflect, for example, changes to our practices or for other operational, legal or regulatory reasons.
Minors
The Site is not intended for individuals under the age of 18 .
SMS Service
We value your privacy and the information you consent to share in relation to our SMS marketing service. We use this information to send you text notifications (for your order, including abandoned checkout reminders), text marketing offers, and transactional texts, including requests for reviews from us. Opt-in data and consent for text messaging will not be shared with any third parties except for messaging partners, for the purpose of enabling and operating our text messaging program.
Our website uses cookies to keep track of items you put into your shopping cart, including when you have abandoned your checkout. This information is used to determine when to send cart reminder messages via SMS.
We will only ever send you SMS messages if you have opted-in to this service.
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https://www.amazon.com/Three-Classic-Albums-Chico-Hamilton/dp/B001CV191K
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Amazon.com
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Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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https://www.instagram.com/tv/CFruOBIg5Vv/%3Fhl%3Den
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https://www.wlrn.org/2013-11-26/drummer-chico-hamilton-west-coast-jazz-pioneer-dies
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en
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Drummer Chico Hamilton, West Coast Jazz Pioneer, Dies
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2013-11-26T00:00:00
|
A linchpin of "cool" jazz in the 1950s and '60s, he assembled bands that came to be described as chamber jazz, full of unusual textures and future star talent. Hamilton, who continued performing into his ninth decade, was 92.
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/apple-touch-icon.png
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WLRN
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https://www.wlrn.org/2013-11-26/drummer-chico-hamilton-west-coast-jazz-pioneer-dies
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Jazz drummer Chico Hamilton, a linchpin of the West Coast jazz scene in the 1950s and '60s, died yesterday evening of natural causes in New York City, according to his publicist April Thibeault. He was 92.
As a player, Hamilton's subtle colors and sensitive accompaniments made him emblematic of the relaxed, "cool" approach to jazz. And as a bandleader, his groups experimented with unusual textures and became incubators for new talent like reedmen Eric Dolphy and Charles Lloyd.
Born Foreststorn Hamilton in 1921, his high school classmates included such other future jazz stars as Charles Mingus and Dexter Gordon. He went on to become Lena Horne's drummer, as he told NPR in 2006.
"I ended up ... staying with Lena for over eight years," he said. "I was in a different world. I was on a first name basis with everybody from Frank Sinatra to Tony Bennett. You name them, I was on a first name basis with them."
As a 19-year-old, he had his first brush with Hollywood, featured in a scene with tapdancing Fred Astaire for the 1941 movie You'll Never Get Rich.
He didn't really dig the world of entertainment — he called it "a different side, man" — so he dove into jazz. He became the drummer for Gerry Mulligan's famous pianoless quartet with Chet Baker, which raised his profile.
But it was with his own quintet, founded in 1955, that Hamilton made his mark. The first incarnation of the Chico Hamilton Quintet featured cello, guitar and flute — a sound which to be called "chamber jazz." It was built on compositions by all the members of the group and on collective improvisation. Its first performance, however, was anything but hoity-toity.
"Our first gig was in Long Beach, California, in a sort of unrestricted whorehouse," he told NPR. "You couldn't have been in a crappier place than that. And you come in there with a cello and a flute and a guitar and a bass and drum. Man, we stayed there about seven or eight months and sold out every night. You couldn't move."
The guitarist in that group was Jim Hall.
"He was fearless," Hall said. "Nothing seemed to faze him. Chico had a combination of talent and — confidence isn't the proper term. He felt secure in what he was doing and what we were doing and we were doing something that was a bit unusual in those days."
The group made such a name for itself that it was featured in the 1957 film The Sweet Smell of Success, starring Burt Lancaster and Tony Curtis. Hamilton even had a small speaking part himself.
A year later, the Chico Hamilton Quintet was included in one of the most famous documentaries to be made about jazz: Jazz on a Summer's Day. It was filmed at the Newport Jazz Festival. George Wein booked the festival and described Hamilton's touch this way in 2006.
"He didn't have to bombast you to show you how good he is," Wein said. "I think that's defining the quality of his art."
Hamilton led bands nearly until the present day, but he wasn't just a drummer. He had an ear for talent and continued to pursue new sounds throughout his career. His bands featured future stars like Ron Carter, Paul Horn, Gabor Szabo, Larry Coryell and Arthur Blythe. He moved to New York in the 1960s and wrote music for film and television, including the first English-language film of Roman Polanski. He taught at the New School for Jazz and Contemporary Music, a program he helped to found in the 1980s.
Bandleader and composer Gerald Wilson was a friend of Hamilton's, and another mainstay of the West Coast jazz scene. He recalls a time when the musicians unions were segregated in Los Angeles. Hamilton helped change that.
"He made a statement: 'Why do we have two unions?'" Wilson said. "And it started from that."
Chico Hamilton's playing extended beyond his own groups — he influenced R&B drummers and was sampled by hip-hop producers. In 1992, he told NPR that he was always interested in looking forward, not revisiting his past.
"You can't go back," he said. "I can't feel like I did 30 years ago — about anything except maybe my wife, who I still love. OK?"
Chico Hamilton spent a career that spanned more than seven decades looking ahead.
Copyright 2020 NPR. To see more, visit https://www.npr.org.
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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en
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The 100 Jazz Albums That Shook The World
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2024-01-01T00:00:00
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Not just another “greatest jazz albums” list of favourite recordings and biggest sellers but a fully annotated look at the albums that actually changed jazz and changed lives
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en
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Jazzwise
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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The list featured below was originally published in the August 2006 issue of Jazzwise magazine and quickly established itself as a key reference for anyone interested in exploring the rich history of jazz on record.
We have now taken the concept much further with a new publication – The 100 Jazz Albums That Shook The World – a 100-page definitive guide to the most important and influential jazz albums that have gone on to change and shape the course of the music from the 1920s to the present day.
The 100 Jazz Albums That Shook The World is exclusively available in print and includes new in-depth editorial on each album from Jazzwise's acclaimed team of writers, plus in-depth features on the making of the top three albums, a look at the albums that almost made the cut and a guide to buying the featured titles on LP and CD.
Order your copy today at: www.magsubscriptions.com
2006 List
100
Polar Bear: Held On The Tips of Fingers (Babel)
Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Rec. 2004-2005
Such was the brilliance of Polar Bear’s Held On The Tips Of Fingers, the band’s second release, it almost won the 2005 Mercury Music Prize. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music. A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Rochford’s music was aptly called “the sound of the future” even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Held On The Tips Of Fingers twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as ‘Bear Town’ or the drum ’n’ bass drenched ‘Fluffy’. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. (TB)
99
The Bad Plus: These Are The Vistas (Columbia)
Ethan Iverson (p), Reid Anderson (b) and Dave King (d). Rec. 2003
Very few jazz groups today set out to mess with your head. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. That’s what’s so refreshing about the Bad Plus. They barge in, do things a jazz piano trio isn’t supposed to do, such as play Blondie’s ‘Heart of Glass’ or Kurt Cobain’s ‘Smells Like Teen Spirit.’ To get inside these songs, and their own well thought-out originals, they may inflict a bit of grievous bodily harm on the musical structures, but at least they give you a musical experience you won’t forget easily. (SN)
98
Courtney Pine: Journey To The Urge Within (Antilles)
Courtney Pine (ts, ss, b-cl), Kevin Robinson (t), Ray Carless (bar s), Orphy Robinson (vb), Julian Joseph (p), Roy Carter (ky), Gary Crosby (b), Mark Mondesir (d), Cleveland Watkiss and Susaye Greene (v). Rec. 1986
Journey to the Urge Within heralded the arrival of Courtney Pine at the head of a new generation of British jazz musicians. A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the 1960s, he was compared to the charismatic Wynton Marsalis in the USA as a spokesman for a new breed of technically accomplished young jazzers. Pine’s music was powerful, intense and in the tradition of the great tenor saxophonists such as Coltrane and Rollins. Figuring in the Top 40, an unprecedented achievement for a British jazz album, it went silver, helping to trigger the 1980s jazz boom. (SN)
97
Tomasz Stanko: Soul Of Things (ECM)
Tomasz Stanko (t), Marcin Wasilewski (p), Slawomir Kurkiewicz (b) and Michal Miskiewicz (d). Rec. 20I01
It could have been Stanko masterpieces Litania or Leosia that made this list, but Soul of Things, with a trio of young Polish musicians he mentored since their early teens, is his best selling album for ECM and more than any other brought him to the attention of international audiences. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. An album of precisely focused moods, fragments of melody are crafted into masterful compositions shaped by the timeless elegance of Stanko’s trumpet and the copacetic playing of his young protégés. (SN)
Buy album from Presto Music
96
Medeski, Martin and Wood: Combustication (Blue Note)
John Medeski (ky), Chris Wood (b), Billy Martin (d) and DJ Logic. Rec. 1998
Since the group’s formation in 1992, many welcomed Medeski Martin and Wood as a flight from a largely conservative jazz mainstream while others believed they’d flown the coop entirely. In their own way this Hammond B-3 organ trio of the sort that has been around in jazz for at least 50 years pushed at the boundaries of jazz with rollicking grooves and extended keyboard improvisations. This might be edgy music, but it is body music just the same, try ‘Coconut Boogaloo’ or ‘Sugar Craft’ then see if you can stop popping your fingers. As they reveal here, they delight shaking up mainstream values by going back to the chicken shack, 21st century style. (SN)
95
Wynton Marsalis: Black Codes From The Underground (Columbia)
Wynton Marsalis (t), Branford Marsalis (ss, ts), Kenny Kirkland (p), Charnett Moffett (b) and Jeff Watts (d). Rec. 1985
Black Codes marks the time in young Wynton’s career when he moved from being a Blakey/Hancock prodigy and started to stake out his own ground. This first batch of musical territory had already been trampled underfoot by various members of the Miles Davis and John Coltrane ascendancy, including both leaders, but Marsalis brings his own considerable musical personality to bear on the situation and plays with great invention throughout. He would shift from this base in future but this sets out his aesthetic stall nicely. (KS)
94
Cassandra Wilson: Blue Light ’Til Dawn (Blue Note)
Cassandra Wilson (v), Charlie Burham (vn), Brandon Ross, Gib Walton, Chris Whitley (g), Kenny Davis, Lonnie Plaxico (b), Kevin Johnson, Lance Carter, Cyro Baptista and Bill McClellan (d, perc) plus others. Rec. 1993
Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson’s blue light in 1993. Jazz and blues roots have often been vocal starting points for revivals of every type, so it’s appropriate that Wilson, with her burnished alto voice, should reach in that direction to find not only a crossover audience but establish a new consensus alongside the Great American Songbook to underpin her artistic credibility. That she has more or less continued on that path suggests it works for her on every level. It also points the way for those who follow. (KS)
93
Jan Johanssen: Jazz Pa Svenska (Megafon)
Jan Johansson (p) and Georg Riedel (b). Rec. 1962-64
A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. Taking ages old Swedish folk melodies from Svenska Låtar and then interpreting them from a jazz perspective, Johansson’s carefully nuanced sound, the gradation of his touch, the exquisite detail of every note revealed by the meticulous recording quality captured a unique approach to jazz that has become widely influential. Players such as Mike Brecker, Tommy Smith, Jan Garbarek, Esbjörn Svensson, Tord Gustavsen all were to come under the spell of the Nordic Tone. (SN)
92
Sarah Vaughan: Sarah Vaughan (EmArcy)
Sarah Vaughan (v), Clifford Brown (t), Herbie Mann (f), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Rec. 1954
Vaughan was a by-word for vocal worship among her peers and musical associates by the late 1940s, but little she recorded before this album consistently showed her true worth to jazz. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by – well, by Sassy, Ella and Billie, truth be told. She may later have equalled this in other settings, but here the gauntlet was well and truly thrown down. (KS)
91
Music Improvisation Company: Music Improvisation Company (ECM)
Jamie Muir (perc), Hugh Davies (elec), Evan Parker (ss), Derek Bailey (el g) and Christine Jeffrey (v). Rec. Aug 1970
MIC represents the point of separation between free jazz and free improv. From their perspective, a whole series of trajectories are visible – in Evan Parker’s case the use of live electronics and increasing reliance on soprano leading eventually to the Electro-Acoustic Ensemble. It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation. Strange, disturbing yet oddly attractive.(DH)
90
Charlie Haden: Liberation Music Orchestra (Impulse!)
Haden (b), Don Cherry, Michael Mantler (t), Roswell Rudd (tb), Bob Northern (Fr hn), Howard Johnson (tba), Perry Robinson (cl), Gato Barbieri, Dewey Redman (ts), Sam Brown (g), Carla Bley (p, arr), Paul Motian and Andrew Cyrille (d). Rec. 1969
Jazz and politics have always been entwined, but rarely in the music’s history have the links spelt out on record. The 1960s was a decade when that orthodoxy was reversed, with Charlie Haden’s debut album at the decade’s end being one of the most explicit endorsements of leftist sentiments to be found in the entire jazz world. Sentiments of any persuasion are no proof of quality, but the compositions – from Haden, Bley and Ornette Coleman, among others – are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to. (KS)
Buy album from Presto Music
89
Jackie McLean: Let Freedom Ring (Blue Note)
Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962
McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions (‘Melody For Melonae’) an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould. (KS)
Buy album from Presto Music
88
Joe Harriott-John Mayer Double Quintet: Indo-Jazz Suite (EMI Columbia)
Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965
Ravi Shankar’s 1962 Improvisations, with Bud Shank, and Don Ellis’ unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as “highly provocative” it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott’s quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed. (JN)
87
Django Reinhardt: Rétrospective 1934-53 (Saga)
Django Reinhardt (g), the Quintette du Hot Club de France, Loulou Gasté, Joseph Reinhardt, Emmanuel Vées (g), Louis Vola, Coleridge Goode (b), Hubert Rostaing, André Ekyan (cl), Alix Combelle (ts), Gianni Safrred (p), Aurelia de Carolis (d) and many others. Rec. 1934-1953
The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound. By contrast, this compact little high-quality cardsleeve box of three CDs, accompanied by a magnificent 75-page booklet in French and English which contains lavish photographs and discographical details, is by some distance the best one-step intro Django’s staggering genius. Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars. (KS)
86
Steps Ahead: Steps Ahead (Elektra/Musician)
Michael Brecker (ts), Eliane Elias (p), Mike Mainieri (vb), Eddie Gomez (b) and Peter Erskine (d). Rec. 1983
A star-studded line-up this might have been, however, by the time they came to make their debut on an American label, Steps Ahead had forged a powerful group identity that critics were dubbing “the new acoustic fusion.” Much of this was down to a repertoire comprising original, ad hoc song forms that seldom employed straight ahead rhythms. Take ‘Both Sides of the Coin’ that uses a latin rhythm and a rondo form, whereas ‘Loxodrome’ presented an advanced contemporary vehicle for improvisation. Yet promoters would still say why not just play a 12-bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away. (SN)
85
Krzysztof Komeda: Astigmatic (Polskie - Nagrania Muza)
Krzysztof Komeda (p), Tomasz Stanko (t), Zbigniew Namyslowski (as), Gunter Lenz (b) and Rune Carlson (d). Rec. 1965
Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. Stanko himself has said that this is an album that could “never have been made in America”, pointing to Komeda’s day job as a composer for more than 40 films. “Film dictates untypical construction,” Stanko has recalled. Indeed, the quintet responds to Komeda’s compositions with audible glee – there is measured intensity here but also the unmistakable glow of inspiration. (SN)
84
Anthony Braxton: For Alto (Delmark)
Anthony Braxton (as). Rec. 1969
While the song titles – dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins – gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital. Braxton’s alto saxophone is like the sound of acid dripped from the beating wings of hummingbirds, a charmingly corrosive caress. Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. Downbeat awarded For Alto five stars and called it “revolutionary.” They were right. (KLG)
83
Diana Krall: Love Scenes (Impulse!)
Diana Krall (v, p), Russell Malone (g) and Christian McBride (b).
Rec. 1997Where would female jazz vocals be today without Diana Krall? An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. However, Krall is the genuine article on every level, whether you’re talking about texture, taste, integrity, inventiveness or musicianship. Whatever setting she’s chosen for herself in the past decade, it’s been apposite. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto. No wonder people listened. (KS)
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82
Steve Coleman And Five Elements: The Tao Of Mad Phat: Fringe Zones (RCA/Novus)
Steve Coleman (as), Andy Milne (p, ky) David Gilmore (g), Reggie Washington (el b), Roy Hargrove (t), Josh Roseman (tb), Kenny Davis (b) and Junior “Gabu” Wedderburn (perc). Rec. 1993
Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)
81
Eberhard Weber: The Colours of Chloë (ECM)
Weber (b, cello, ocarina), Rainer Bruninghaus (p, syn), Ack van Rooyen (flhn), Peter Giger, Ralf Hübner (d, perc), and the cellos of the Südfunk Orchestra Stuttgart. Rec. 1973
Eberhard Weber’s debut album was one of the most significant opening volleys of ECM’s arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. Entrancing. (KS)
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80
John Surman: Tales Of The Algonquin (Deram)
John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971
As much Canadian John Warren’s album as fellow baritone player John Surman’s, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren’s success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy. (DH)
79
Oliver Nelson: The Blues And The Abstract Truth (Impulse!)
Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961
For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including ‘Stolen Moments’) and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché. (KS)
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78
Betty Carter: The Audience With Betty Carter (Betcar)
Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979
Listening to this album is a cathartic experience. ‘Sounds’ is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is ‘My Favorite Things’ taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter’s singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums. (SN)
77
Art Tatum: The Genius of Art Tatum No.1 (Clef 1953)
Art Tatum (p). Rec. 1953
For decades Tatum was every jazz pianist’s first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum’s death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum’s popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener. This first of the series is a solo recital. All the Tatum Clefs and Verves are now available on Granz’s last-owned label, Pablo. (KS)
76
Charles Lloyd: Dream Weaver (Atlantic)
Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966
Voted “new star” by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd’s subsequent LPs Forest Flower and Love-In became two of jazz’s biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. (JN)
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75
Oscar Peterson: Night Train (Verve)
Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962
By 1962 Peterson’s trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group’s leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from ‘C Jam Blues’ to ‘Moten Swing’ and ‘The Hucklebuck’. Canadiana Suite may be Peterson’s creative high water point, but Night Train defines him. (KS)
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74
Herbie Hancock: The New Standard (Verve)
Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996
From the opening ‘New York Minute’ this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. ‘New York Minute’ is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit. (SN)
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73
Roland Kirk: Rip, Rig & Panic (Limelight)
Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965
Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard’s playing and is consistently taking risks in everything he’s doing. I Talk With The Spirits, his flute album, came next and gave the world ‘Serenade to a Cuckoo’, while 1968’s Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer’s delight. (KS)
72
Thelonious Monk: The Genius Of Modern Music, Vol. 1 (Blue Note)
Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947
These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they’d done these three sessions in little more than a month, just to get the first small-group versions of ‘Round Midnight’, ‘Ruby My Dear’, ‘Thelonious’ and ‘In Walked Bud’ among others. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. Yet the miraculous Blakey is at his early best. (BP)
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71
Wayne Shorter: Speak No Evil (Blue Note)
Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964
Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter’s essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he’d even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… (KS)
Feature: Wayne Shorter – Music of the Spheres
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70
Dollar Brand (Abdullah Ibrahim): African Marketplace (Elektra/Musician)
Dollar Brand (Abdullah Ibrahim) (ss, kys, p), Gary Chandler (t), Malindi Blyth Mbityana, Craig Harris (tb), Carlos Ward (as), Jeff Jaywarrah King, Dwayne Armstrong (ts), Kenny Rogers (bs), Lawrence Lucie (bjo), Cecil McBee (b), Miguel Pomier and Andre Strobert (d, perc). Rec. 1980
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
69
Stan Tracey: Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood (EMI/Columbia)
Stan Tracey (p), Bobby Wellins (ts), Jeff Clyne (b) and Jackie Dougan (d). Rec. 8 May 1965
Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching, Tracey’s eight pieces provide a remarkable insight into Thomas’ great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. With its jaunty, picaresque tunes and assured playing that reflected Thomas’ saucy, roguish book, the album is a wonderfully humorous work that extended the boundaries in a hugely subtle way. After this, there would always be more to jazz than just blowing. (DH)
68
Esbjörn Svensson Trio: From Gagarin’s Point Of View (ACT)
Esbjörn Svensson (p), Dan Berglund (b) and Magnus Öström (d). Rec. 1999
It was not as if the Esbjörn Svensson Trio came out of nowhere. They’ve been around since 1991 refining a distinctive collective voice that prompted a name change to EST. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing. (SN)
Feature EST – Three Falling Three
67
John Handy: Live At Monterey Jazz Festival (Columbia)
John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965
Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane’s classic quintet with Eric Dolphy, the two side-long pieces open with Handy’s mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco’s legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed. (JN)
66
Gil Evans: The Individualism of Gil Evans (Verve)
Gil Evans (p, arr, comp) with, among others, Johnny Coles, Ernie Royal, Thad Jones, Bernie Glow (t), Frank Rehak, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b) and Elvin Jones (d). Rec. 1963-4
A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. This album is his most ambitious and deeply satisfying, covering his love of Kurt Weill, the blues, Spanish music and swaggering self-penned pieces, all of them dripping in the translucent arrangements that make you feel you’ve entered a uniquely magical musical land the moment the orchestra makes a sound. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original. The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music. (KS)
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65
Gerry Mulligan: Gerry Mulligan Quartet (Pacific Jazz)
Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). Rec. 1952
Mulligan first made a significant contribution to recorded jazz through his arrangements for Miles’ so-called Birth of the Cool sessions for Capitol, but it was the 1952 pianoless quartet that hit the headlines and made him (as well as trumpeter sidekick Chet Baker) virtually overnight jazz celebrities. This album covers the initial (and best) sides the Mulligan Quartet cut, for Pacific Jazz, including ‘Bernie’s Tune’, ‘Freeway’ and ‘Walkin’ Shoes’, where the uncanny empathy between Mulligan and Baker is constantly underlined by the firmly resilient beat of Chico Hamilton. West coast jazz in its infancy and at its most joyously infectious. This is a Japanese CD reissue which more than doubles the original vinyl playing time. (KS)
64
Brad Mehldau: Art Of The Trio Vol.3 (Warner)
Brad Mehldau (p), Larry Grenadier (b) and Jorge Rossy (d). Rec. 1998
Voted best jazz album of 1998 by The Guardian and part three of a musical odyssey that comprises five volumes stretching from 1996-2000. More so than his previous albums, this was the one that put him on the map, as much for a version of ‘Exit Music (For A Film)’ that turned Radiohead into Beethoven as his deeply haunting version of Nick Drake’s ‘River Man’ that hipped a legion of young jazzers to two fresh new sources of repertoire. Here Mehldau’s improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. In the process they lay to rest Bill Evans soundalike comparisons once and for all. (SN)
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63
Archie Shepp: Four For Trane (Impulse!)
Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964
Shepp was a member of Cecil Taylor’s 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp – Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release. (KS)
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62
Count Basie: The Atomic Mr Basie (Roulette)
Count Basie (p), Thad Jones, Joe Newman, Wendell Culley, Snooky Young (t), Benny Powell, Henry Coker, Al Grey (tb), Marshall Royal (as, cl), Frank Wess (as, ts), Frank Foster, Eddie “Lockjaw” Davis (ts), Charlie Fowlkes (bar s), Freddie Green (g), Eddie Jones (b), Sonny Payne (d) and Neal Hefti (arr). Rec. 1957
First issued simply as Basie and illustrated with “a tasteful” mushroom cloud it certainly had an explosive enough impact as it was his first album to capture the rich ensemble sound as well as the beat. Some of the charts wear better than others, but the overall feel is timeless. ‘Kid From Red Bank’ featuring stride piano from the leader and ‘Whirly-Bird’’s shouting tenor saxophone by Lockjaw epitomise the uptempos, while ‘Splanky’ and Newman-and-Thad’s ‘Duet’ do it for the blues. And ‘Li’l Darlin‚’ proves emphatically that smoochy doesn’t have to mean smoo-ooth. (BP)
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61
Miles Davis: Birth of the Cool (Capitol)
Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). Rec. 1949-50
The wonder of Miles’ career is the sheer amount of times he seized the moment, grabbed the right people, and got them to deliver their best creative thoughts for him. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. The world is changed, part one. (KS)
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60
Peter Brötzmann Octet: Machine Gun (FMP)
Peter Brötzmann (ts, bar s), Evan Parker, Willem Breuker (ts), Fred Van Hove (p), Peter Kowald, Buschi Niebergall (b), Han Bennink and Sven Johansson (d). Rec. May 1968
Political statement, samizdat reflection on events or Janovian primal scream? Surely one of the most extreme albums ever recorded it’s a musical manifesto from the European free jazz underground, an answering call to like-minds across the Atlantic and rallying cry for those at home. The title track features “solos” by the three horn players and pianist Van Hove, each as ferocious as the other. ‘Responsible’, for all its atonal howling, ends with a fabulous latin vamp while ‘Music For Han Bennink’ squeals and yelps with joy. Machine Gun leaves you shaken to the core. (DH)
59
Coleman Hawkins: Body And Soul (RCA Bluebird)
Hawkins (ts) and many others. Rec. 1939-56
The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet – in such a long and protean career, how do you get all the best bits on one label? With Bechet it’s still impossible. With Hawk, you can just about do it. The great man’s original ‘Body And Soul’ masterpiece from 1939 is here, plus a telling number of tracks showing how he paced all the changes in jazz with ease and continued to grow artistically through the decades. The best of the later Hawk is on Verve, but this intro is nicely rounded. (KS)
58
Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach (EmArcy)
Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Rec. 1954
Timing is everything. For two years this group was the cutting edge of modern jazz: by spring 1956 they had Sonny Rollins as the resident tenor alongside Clifford Brown’s dazzlingly innovative trumpet: Miles and Coltrane were still playing catch-up in their quintet. Then, a car crash claimed Brown and pianist Richie Powell and it was all over. This powerful set, containing classic interpretations of post-bop standards such as ‘Daahaud’, ‘Joy Spring’ and ‘Parisienne Thoroughfare’ is still the starting-point for post-Parker bop and mandatory listening for any subsequent trumpeter. The CD contains two alternative takes adding 10 more minutes of music. (KS)
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57
Horace Silver: Song For My Father (Blue Note)
Silver (p), Blue Mitchell, Carmell Jones (t), Junior Cook, Joe Henderson (ts), Gene Taylor, Teddy Smith (b), Roy Brooks and Roger Humphries (d). Rec. 1963-64
For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)
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56
Art Ensemble of Chicago: A Jackson in Your House (BYG/Actuel)
Lester Bowie (t, flhn, perc), Roscoe Mitchell (ss, as, bs, cl, fl, whistles, steel drum, perc), Joseph Jarman (ss, as, cl, oboe, mba, siren, g) and Malachi Favors (b, el b, banjo, log drum and perc). Rec. 1969
A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. This was the record that showed that the sonic riot of the avant-garde wasn’t incompatible with riotous humour. Using anything from Dixieland riffs to bluesy drawls to classical intermezzi, AEoC create a mix-tape in which tempo, mood and idiom become shifting sands on a strange and beautiful landscape. Imagine William Burroughs cutting up sheet music instead of text and having skilled players somehow make the fragments sound coherent. A deeply subversive but sophisticated work that must have been highly informative to anyone from Zappa to Zorn. (KLG)
55
John Coltrane: Ascension (Impulse!)
Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965
Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts – even John Lennon told interviewers “of course I’ve heard Ascension” when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane’s supporting musicians a clear indication of the times it was made in, yet it’s a titanic date that changed jazz forever. (KS)
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54
Lester Young: Lester Young/Buddy Rich Trio (Verve)
Young (ts), Nat King Cole (p) and Buddy Rich (d). Rec. 1946
Young was past his creative peak by the time vinyl LPs became the norm for recording purposes, but luckily a young Norman Granz snuck this session in during 1946 while Young was signed elsewhere, then sat on it until he signed Young himself in 1952. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. With the spotlight for once firmly on Young himself, the intimate date exhibits all Young’s soul, elusive melodic and rhythmic invention, down-home drive and unearthly delicacy and shows just why he was Charlie Parker’s early idol. (KS)
53
Pharoah Sanders: Karma (Impulse!)
Sanders (ts) Leon Thomas (v, perc), James Spaulding (fl), Julius Watkins (Fr hn), Lonnie Liston Smith (p), Richard Davis, Reggie Workman, Ron Carter (b), Freddie Waits, William Hart (d) and Nathaniel Betis (perc). Rec. 1969
What a sleeve! The saxophonist’s meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Coming out of the universal consciousness of mentor John Coltrane and borrowing some of the celestial majesty of his widow Alice, Sanders gets modal-hymnal on the enduring ‘The Creator Has A Master Plan’ and dazzlingly abstract on ‘Colors’. These heady cosmic grooves fed the creative fire of anyone from Roy Ayers to Lonnie Liston Smith in the 1970s and inspired the more discerning purveyors of pro-tools instrumental music such as The Cinematic Orchestra in the millennium. (KLG)
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52
John McLaughlin: Extrapolation (Marmalade)
John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). Rec. 1969
The 1960s was a decade when British jazz emerged with a strong identity with classic albums from the likes of Mike Westbrook, Michael Garrick, Don Rendell-Ian Carr Quintet and Mike Gibbs to name but a few. But Extrapolation is the most prophetic, not only as a stepping stone in McLaughlin’s career – from Extrapolation to Tony Williams’ Lifetime to Bitches Brew to the Mahavishnu Orchestra are indeed surprisingly small strides – but for how change in jazz in the late 1960s and early 1970s would shape up. This mixture of freedom (often “time, no changes”) and structure as well as the increasing sense of identity in McLaughlin’s playing framed by Surman and Oxley make for compelling listening. (SN)
51
John Zorn: Naked City (Elektra/Nonesuch)
John Zorn (as), Bill Frisell (g), Wayne Horvitz (ky), Fred Frith (b) and Joey Baron (d). Rec. 1989
This is a superb example of post modern jazz. Zorn, the arch post modernist, expropriated practices, fragments and signifiers of different, sometimes alien music and relocated them within his own brash expressionism. Thus there’s fleeting references to jazz, blues, surf guitars, film noir moods, country music plus short, sharp noise shocks all made possible by Bill Frisell’s versatile guitar. Using segue-like channel zapping on TV, one mood is thrust in harsh disjunction with another. The only thing certain about postmodernism is uncertainty, so we should pay attention to this music, because uncertainty in an uncertain world is shaping all of us. (SN)
50
Lennie Tristano: Tristano (Atlantic)
Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). Rec. 1955
Theorist, teacher, creative thinker and virtuoso pianist, Tristano had advanced and very firmly held views about what constituted good playing practice. He expected his musicians to adhere to such views and accept whatever discipline he imposed. That it worked for others can be heard in Lee Konitz and Warne Marsh, and that it was influential can be discerned through Bill Evans’s absorption of Tristano’s methods. But Tristano’s own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, ‘Requiem’, and his controversial multi-tracking of his own piano lines, ‘Line Up’, providing a brief moment when everyone sat up and took notice. (KS)
49
Dizzy Gillespie: Shaw ’Nuff (Musicraft)
Gillespie (t), Charlie Parker, Sonny Stitt (as), Dexter Gordon (ts), Clyde Hart, John Lewis, Frank Paparelli (p), Milt Jackson (vb), Chuck Wayne (g), Ray Brown, Curly Russell, Slam Stewart (b), Sid Catlett, Kenny Clarke, Cozy Cole, Shelly Manne (d) and Sarah Vaughan (v) plus many others. Rec. 1945-6
Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)
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48
Sun Ra: The Heliocentric Worlds of Sun Ra Volume 1 (ESP-Disk)
Sun Ra (p, mba, cel, perc), Chris Capers (t), Teddy Nance (tb), Bernard Pettaway (b tb), Danny Davis (f, as), Marshall Allen (picc, as, perc), Robert Cummings (bcl, perc), John Gilmore (ts, perc), Pat Patrick (bs, perc), Ronnie Boykins (b) and Jimhmi Johnson (perc). Rec. 1965
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
47
Sonny Rollins: The Bridge (RCA Victor)
Rollins (ts), Jim Hall (g), Bob Cranshaw (b), Ben Riley and Harry Saunders (d). Rec. 1962
There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)
Feature Sonny Rollins: Albums That Shook The World
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46
Andrew Hill: Point of Departure (Blue Note)
Hill (p), Kenny Dorham (t), Eric Dolphy (f, as, bcl), Joe Henderson (ts, f), Richard Davis (b) and Tony Williams (d). Rec. 1964
Hill’s is of course a multi-faced talent – a brilliant pianist and improviser, he is also one of jazz’s outstanding composer-arrangers. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late 1920s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed. Depending on which CD version you come across this can be a straight version of the vinyl original or contain two extra alternative takes. (KS)
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45
John Coltrane: Impressions (Impulse!)
Coltrane (ss, ts), Eric Dolphy (bcl, as), McCoy Tyner (p), Reggie Workman, Art Davis, Jimmy Garrison (b) and Elvin Jones (d). Rec. 1961 and 1963
This was Coltrane’s second scoop into the Aladdin’s cave of music he’d made at the Village Vanguard in November 1961. The first, released as At The Village Vanguard in 1962, had whipped up a storm of criticism and, through the blues ‘Chasin’ The Trane’, served notice to a new generation about the music to come. This one went even further – India threw open the floodgates to the east in jazz, while ‘Impressions’ is 14 minutes of solid gold inspiration from Trane and Elvin. The 1963 studio fillers, ‘Up Against The Wall’ and ‘After The Rain’, are two exquisite musical punctuation points. (KS)
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44
George Russell: The Jazz Workshop (RCA Victor)
George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956
One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition – with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. (DH)
43
Miles Davis: Sketches Of Spain (Columbia)
Davis (t, flhn), orchestra and Gil Evans (cond, arr). Rec. 1960
Miles already had two bona-fide large-group masterpieces for Columbia down in the plus column with Miles Ahead and Porgy & Bess by the time he and Gil Evans assembled this finely-drawn re-workings of classical pieces of music generally associated with Spain. At its core is the brooding central movement from Rodrigo’s Concierto de Aranjuez, but the poignant lyricism and incandescent colours Miles and Gil invest the other pieces, including a rare Evans original, with a singularity of vision and intent that makes this a burningly bright and unified achievement. Once more they’d broken the mould, for themselves and everyone else. (KS)
Review Miles Davis – Sketches Of Spain (50th Anniversary Edition) ★★★★★
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42
Stan Getz: Focus (Verve)
Getz (ts), Roy Haynes (d), chamber string group and Hershey Kay (cond). Rec. 1961
Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers. Getz’s commission to his favourite arranger/composer Eddie Sauter was completely open-ended. What Sauter delivered was a suite that stood up as music independently of anything Getz might add melodically but that left him plenty of room to create the most gorgeous tapestry of sound and emotion, interweaving between all the richness of Sauter’s lean, expressive scores. Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe. (KS)
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41
Chick Corea: Return To Forever (ECM)
Corea (el p), Joe Farrell (f, ss), Stanley Clarke (el b), Airto Moreira (d, perc) and Flora Purim (v). Rec. 1972
By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
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40
Billie Holiday: At JATP (Clef/Verve)
Holiday (v), Howard McGhee, Buck Clayton (t), Trummy Young (tb),Willie Smith (as), Illinois Jacquet, Wardell Gray, Coleman Hawkins, Lester Young (ts), Milt Raskin, Ken Kersey, Tommy Tucker (p), Charles Mingus, Al McKibbon (b), J.C. Heard and Jackie Mills (d). Rec. 1945-47
People call Billie Holiday THE voice of jazz. However, her discography on vinyl is convoluted: her 1930s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the 1960s to appear in any ordered way and the 1990s to appear substantially on CD. Ditto her 1940s Deccas. By the time she settled with Verve in 1952 her voice had darkened and lost its suppleness. This set of live performances from the mid-40s, however, finds her in good musicianly company, vocally at a peak and expressively in the mood to sweep all before her across a classic selection of material, including ‘Strange Fruit’ and ‘Billie’s Blues’. The CD configuration more than doubles the amount of material originally available on vinyl, though the sound quality on some of the “new” tracks is not exactly brilliant. (KS)
39
Tony Williams Lifetime: Emergency! (Polydor)
Tony Williams (d), Larry Young (org) and John McLaughlin (g). Rec. 1969.
This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. Today, the mere mention of jazz-rock prompts cries from establishment critics of “sell-out,” but if this is selling-out, then maybe they should consider another line of work. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it. (SN)
38
Cannonball Adderley: Somethin’ Else (Blue Note)
Adderley (as), Miles Davis (t), Hank Jones (p), Sam Jones (b) and Art Blakey (d). Rec. 1959
Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. In a sense it was a vale to what had passed between the altoist and Miles Davis during the time they shared the bandstand in the Miles Davis Sextet, complete with Miles’ compulsive borrowings from Ahmad Jamal and the delicate balance struck between the beautiful simplicity of the emerging modernist simplicity and Cannon’s natural ebullience. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. The Blue Note RVG version contain an extra track from this session. (KS)
Review Cannonball Adderley – Somethin' Else
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37
Charles Mingus: The Black Saint And The Sinner Lady (Impulse!)
Rolf Ericson, Richard Williams (t), Quentin Jackson (tb), Don Butterfield (tba), Jerome Richardson (fl, ss, bar s), Dick Hafer (fl, ts), Charlie Mariano (as), Jaki Byard (p), Jay Berliner (g), Charles Mingus (b, p) and Dannie Richmond (d). Rec. 1963
Maybe you have to acquire a taste for Mingus before getting to this, but I’ve known people with significant non-Mingus backgrounds fall headlong for it at first hearing. Whether you come from Ellington or from Coltrane or from blues-bands, there’s stuff from this almost continuous suite to captivate you. Even techno fans – no sampling as such – will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano (later of ECM and all points east), and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself. (BP)
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36
Ella Fitzgerald: Sings The Cole Porter Songbook (Verve)
Fitzgerald (v) and the Buddy Bregman Orchestra. Rec. 1956
Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until 1956 to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them (initially as volumes one and two) on an unsuspecting but quickly enraptured public. The idea caught on and Ella kept doing composer songbooks well into the 1960s. Nobody did it better, even though it could be said that Sinatra’s studious avoidance of such anthologies produced the greater individual legacy. (KS)
Feature Ella Fitzgerald: essential recordings
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35
Duke Ellington: Ellington At Newport (Columbia)
Ellington (p), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (t), Britt Woodman, Quentin Jackson, John Sanders (tb), Johnny Hodges, Russell Procope (as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bar s), Jimmy Woode (b) and Sam Woodyard (d). Rec. 1956
Ellington often acknowledged that the 1956 Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. Apart from the on-site near-riot after the conclusion of ‘Diminuendo And Crescendo in Blue’, this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. The fact that 60 per cent of the original (including just about all of The Festival Suite) was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later. The original vinyl had just three tracks: this was also the original CD configuration. A later two-CD version combines much improved sound with the complete festival appearance, plus studio extras. (KS)
Feature: Such Sweet Thunder: inside Duke Ellington's literary world
34
Woody Herman: The Thundering Herds (Columbia)
Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reeds), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rowles (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Tough and Don Lamond (d). Rec. 1945-47
The 1945-47 Herman bands – they came to be known as the First and Second Herds – were 1940s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough. This set, first pulled together on vinyl in the 1960s and re-jigged many times on LP and CD since, preserves the best of a truly great big band and its leader. (KS)
33
Jan Garbarek: Afric Pepperbird (ECM)
Jan Garbarek (ts, fl), Terje Rypdal (g), Arild Andersen (b) and Jon Christensen (d). Rec. 1970
From the opening track ‘Scarabee’, the jazz world outside Scandinavia was introduced to a Nordic sensibility in jazz, the Nordic Tone. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. Garbarek combines the intensity of Albert Ayler and the economy of Dexter Gordon but reinscribes them with Nordic folkloric allusions, to produce, in producer Manfred Eicher’s words “an alternative to the American approach to jazz,” an approach he champions to this day. (SN)
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32
Jimmy Smith: A New Sound, A New Star (Blue Note)
Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). Rec. 1956
It’s that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. From the off, Blue Note was looking for commercial success and his version of ‘The Champ’, though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade. (KS)
31
Pat Metheny: Bright Size Life (ECM)
Pat Metheny (g), Jaco Pastorius (b) and Bob Moses (d). Rec. 1975
The first blooming of Metheny’s great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton’s group of the day. At this stage of career (he was 21) Metheny indulged Pastorius somersaulting on to the stage and doing back flips off his speaker cabinet, and this mixture of Pastorius’ exuberance and Metheny’s intensity, moderated by the impeccable taste of Bob Moses lends a freshness to this album that makes it seem as if it were recorded yesterday. (SN)
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30
Stan Getz/Joao Gilberto: Getz/Gilberto (Verve)
Getz (ts), Joao Gilberto (v, g), Antonio Carlos Jobim (p), Tommy Williams (b), Milton Banana (perc) and Astrud Gilberto (v). Rec. 1963
Funnily enough, this spring 1963 session was close to Getz’s last serious stab at bossa nova – he’d already had massive success with Jazz Samba and Jazz Samba Encore – but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album’s release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved, and it was achieved by the towering genius of Tom Jobim’s tunes and spare piano accompaniment, Gilberto’s uniquely intimate voice and guitar, a rhythm section that breathes life and colour, all of it topped by the supreme melodist, Stan Getz. All that plus Joao’s wife Astrud as a last minute show stealer and you have a classic on your hands. (KS)
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29
Herbie Hancock: Maiden Voyage (Blue Note)
Freddie Hubbard (t), George Coleman (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d). Rec. 1965
A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis (and playing as well as he would at any point of career) it contained two Hancock originals that would assume quickly the status of jazz standards. The binary 34-bar ‘Dolphin Dance’ and the modal 32-bar ‘Maiden Voyage’, with its pre-arranged rhythmic structure that is maintained throughout, will probably be played as long as jazz itself. Add to that ‘Little One’, previously recorded by Davis on ESP, and you have the concept album to end all concept albums. (SN)
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28
Art Blakey: Moanin’ (Blue Note)
Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). Rec. 1958
Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in 1956. By 1958 he’d gone through a number of versions of the band, with this becoming the blueprint version for the next half a decade. With Benny Golson and Bobby Timmons supplying hard bop anthems such as the title tune, ‘Along Came Betty’ and ‘Blues March’, and the front line soloists refining their long, elaborate post-bop lines into the shorter and more pithy soul-based hard bop lines of the late 1950s, this Blakey band, and this Blakey album, defined soul jazz. (KS)
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27
Cecil Taylor: At The Café Montmartre (Debut)
Taylor (p), Jimmy Lyons (as) and Sunny Murray (d). Rec. 1962
Taylor had been a thorn in the modern US jazz world’s side since the mid 1950s with his uncompromising approach to music-making, but up until this live date recorded in Copenhagen by the Danish Debut label he’d not made the decisive steps into free playing that would revolutionise the very basis of jazz rhythm. Here, Taylor, Lyons and Murray race pell-mell into music without metric boundaries, throwing open a Pandora’s box of possibilities that would be investigated intensely by every jazz avant-gardist worldwide for the next 20 years. Additionally, Taylor’s supercharged playing on this date was the first glimpse on record of his ability to sustain such white heat over Coltrane-like stretches of playing time. (KS)
26
Bud Powell: The Genius of Bud Powell (Clef/Verve)
Powell (p), Ray Brown (b) and Buddy Rich (d).
Rec. 1950-51Two Herculean trio tunes – ‘Tea For Two’ and ‘Hallelujah’, both taken at breakneck speeds – make up the 1950 contribution here. With the benefit of extra CD space we get treated to two extra takes of ‘Tea For Two’, giving us an object lesson in how Powell developed his material as well as maintaining his incredible improvisational creativity. But the real jewels on this album are the eight solo selections recorded in February 1951. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening. (KS)
25
Modern Jazz Quartet: Fontessa (Atlantic)
John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). Rec. 1956
It’s difficult at this distance, with so much noise and fury intervening, to credit the radicalism of John Lewis’ brief for the Modern Jazz Quartet, but back in 1956 they were doing stunningly new things in jazz in just about every musical area – form, content, arrangement, interplay and theory. They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade. (KS)
24
Wes Montgomery: The Incredible Jazz Guitar of Wes Montgomery (Riverside)
Wes Montgomery (g), Tommy Flanagan (p), Percy Heath (b) and Albert Heath (d). Rec. 1960
Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound – sensitive on ballads but incisive on fast tempos. His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. The effect was stunning and like Charlie Christian two decades earlier, his innovations were to open up new possibilities for the guitar and be the inspiration for a new generation of guitar players, including George Benson, Pat Martino and Larry Coryell, who once played Wes’ own solo on ‘D Natural Blues’ to a surprised Wes. Every track on this album is a classic and his songs ‘West Coast Blues’ and ‘Four on Six’ have become part of the jazz canon. (CA)
Review Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery ★★★★★
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23
Frank Sinatra: Songs For Swingin’ Lovers (Capitol)
Frank Sinatra (v), Nelson Riddle (arr, cond) and big band. Rec. 1955-56
Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best. Additionally – and crucially – he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra’s balladry. This classic mid-50s session puts Frankie’s jazz credentials perfectly in order and throws down the gauntlet for everyone else. (KS)
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22
Jelly Roll Morton: Volume 1 (JSP)
Morton (p, comp, arr), George Mitchell (c), Edward Kid Ory (tb), Omer Simeon, Barney Bigard, Darnell Howard, Johnny Dodds (cl), Stump Evans (as), Johnny St Cyr (bj), John Lindsay (b), Andrew Hilaire, Baby Dodds (d) and others. Rec. 1926-28
As with Sidney Bechet, it’s devilishly hard to find a single compilation of Morton that covers all the essentials. This one doesn’t quite, but does it better than most, and also does it under the auspices of remastering from original 78s by John R.T. Davies, whose expertise in this area is legendary. Morton’s miraculous flowering in this period has to be heard to be believed, with his arrangements of his own and others’ tunes so multi-faceted, so imaginative and full of incredible creative drive as to be a collective body of genius to place alongside that of Ellington and – much later – Mingus or Gil Evans. Except he did it first. (KS)
21
Ahmad Jamal: But Not For Me - At The Pershing (Argo)
Jamal (p), Israel Crosby (b), Vernell Fournier (d). Rec. 1958
Jamal’s ideas about integrated and disciplined trio interplay had already deeply influenced jazz’s inner circle of musicians while his piano-guitar-bass trio was around throughout the early 1950s. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in 1958. Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. The highlight may have been ‘Poinciana’, but every track is an object lesson in how to draw the best from a tune. That it was no flash in the pan is shown by the music’s drawing power and continuing fascination today, as well as its ability to influence every new generation of pianists. (KS)
20
Weather Report: Heavy Weather (Columbia)
Joe Zawinul (ky), Wayne Shorter (ts, ss), Jaco Pastorius (b), Alex Acuña (d) and Manolo Badrena (perc). Rec. 1976
Sometimes, when listening to Weather Report at their best and this is one of their very best, it’s worth pinching yourself as a reminder that at their heart, this band comprised one of jazz’s most basic jazz configurations. It’s simply, saxophone, piano, bass, drums and percussion. Then, listen to ‘Birdland’, later covered by Manhattan Transfer and Maynard Ferguson, and wonder. Listen to the boost Pastorius gives the band, especially on his own compositions ‘Havona’ and ‘Teen Town.’ Reaching number 30 on the Billboard album chart, even today Heavy Weather remains as stunning in its overall effect as the day it was made. (SN)
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19
Ornette Coleman: Free Jazz (Atlantic)
Ornette Coleman (as), Freddie Hubbard, Don Cherry (t), Eric Dolphy (b cl), Scott LaFaro, Charlie Haden (b), Ed Blackwell and Billy Higgins (d). Rec. 1960
This one turned everyone around. Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today. Some CD issues of this album contain the 17-minute rehearsal version of ‘Free Jazz’, called ‘First Take’, as a bonus. (KS)
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18
Dave Brubeck: Time Out (Columbia)
Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). Rec. 1959
Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Secondly, he’s a distinctive composer with a knack for melody, as this fine album demonstrates, even if the defining tune, ‘Take Five’, is a Desmond composition. It’s also important to stress Brubeck’s commitment to collective invention within his group: still an unusual thing in jazz in 1959. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing. (KS)
Review The Dave Brubeck Quartet – Time Out (50th Anniversary Legacy Edition) ★★★★★
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17
Herbie Hancock: Head Hunters (Columbia)
Herbie Hancock (ky), Bennie Maupin (saxes, fl, b cl), Paul Jackson (b), Harvey Mason (d) and Bill Summers (perc). Rec. 1973
It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. Inspired by Sly and the Family Stone’s ‘Thank You (Falettinme Be Mice Elf Agin)’ there’s even a tribute track on it called ‘Sly’. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. ‘Chameleon’, the single taken from the album (also a biggie for Maynard Ferguson), sped up the Billboard chart to number 13 and made this one of the biggest selling jazz albums of all time. (SN)
Review Herbie Hancock – Head Hunters
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16
Albert Ayler Trio: Spiritual Unity (ESP-Disk)
Ayler (ts), Gary Peacock (b) and Sunny Murray (d). Rec. 1964
Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything. The sheer wildness of Ayler’s sound, execution and ideas (hysterical trilling way above the normal range of the saxophone combined with body-blow honks and sonic booms from its very depths) was unprecedented, as was the frenetic free-rhythm accompaniment from Peacock and Murray. It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best. (KS)
15
Mahavishnu Orchestra: Inner Mounting Flame (Columbia)
John McLaughlin (g), Jerry Goodman (vln), Jan Hammer (key), Rick Laird (b) and Billy Cobham (d). Rec. 1972
Formed in 1971, the original Mahavishnu Orchestra remains guitarist John McLaughlin’s greatest achievement. It lit up the night sky for almost two years, everything was played at 500mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone. McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Even they didn’t realise how great they were until it was all over. (SN)
MusicBuy album from Presto Music
14
Duke Ellington: The Blanton-Webster Band (RCA Bluebird)
Ellington (p), Wallace Jones, Cootie Williams, Ray Nance (t), Rex Stewart (ct), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v tb), Barney Bigard (cl), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (bs, bcl) Fred Guy (g), Billy Strayhorn (p), Jimmy Blanton (b), Sonny Greer (d), Ivie Anderson, Herb Jeffries (v) and others. Rec. 1940-1942
This 3-CD pack was first issued in the mid-1980s spotlighting Ellington’s most fertile and ground-breaking music. During the three years covered by this set Ellington and his musical doppelgänger Billy Strayhorn turned jazz composition and arranging inside out, often using the simplest of ideas and materials, as only genius can, but also presenting immensely sophisticated ideas in a guise instantly grasped by their legions of fans. That they had the assistance of such stars as Hodges, Williams, Bigard, Webster and Blanton only added to the music’s lustre: it remains an imperishable treasure. The slimline 3-CD 2003 RCA reissue titled Never No Lament: The Blanton Webster Band benefits from the latest remastering and research and is the version to get. (KS)
13
Louis Armstrong: Complete Hot Fives and Sevens (Columbia)
Armstrong (ct, v), Honore Dutrey, Edward Kid Ory, J.C. Higginbotham, Jack Teagarden (tb), Johnny Dodds, Don Redman, Jimmie Noone (cl), Barney Bigard, Happy Caldwell (ts), Lonnie Johnson (g), Johnny St Cyr (bj), Lil Hardin, Earl Hines (p), Baby Dodds, Zutty Singleton (d) and others. Rec. 1925-1930
If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong’s Hot Fives and Sevens reach out into the music’s future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. This music is bursting at the seams with vitality, Armstrong’s every solo seeming to overflow with uncontrollable invention delivered with an urgency that is never manic, always confident, forever breathtaking in its conception. Within this admirably packaged 4-CD set from 2000 (easily the best collective incarnation of this music on disc) Armstrong’s accompanying groups expand to meet his conception as the years go by while Louis himself keeps making that big picture bigger. (KS)
Feature Ten of the best Louis Armstrong albums
12
Eric Dolphy: Out to Lunch (Blue Note)
Dolphy (f, as, b cl), Freddie Hubbard (t), Bobby Hutcherson (vb), Richard Davis (b) and Tony Williams (d). Rec. 1964
Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on ‘Alone Together’. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times. Of course, he remains the group’s most gripping player (he wrote all the material too) and his imitation of a drunk on ‘Straight Up And Down’ remains unsurpassed except by himself. What would he have done next? (KS)
Buy album from Presto Music
11
John Coltrane: Giant Steps (Atlantic)
Coltrane (ts), Tommy Flanagan, Cedar Walton, Wynton Kelly (p), Paul Chambers (b), Lex Humphries, Art Taylor and Jimmy Cobb (d). Rec. 1959|
It’s pretty difficult to overestimate the influence this single album – or even more narrowly, its title track – has had on the development of jazz since its release: certainly the saxophone-bearing members of the world’s jazz community have found it and endlessly renewing font of inspiration. More recently, pianists have delved into re-arrangements of Coltrane’s elegant and distinctive compositions. The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players. Some CD versions have as many as eight bonus tracks. (KS)
Feature John Coltrane – Giant Steps
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10
Keith Jarrett: The Köln Concert (ECM)
Keith Jarrett (p). Rec. 1975
Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter 1960s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early 1970s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the 1970s, although his creativity continued to diversify and deepen. An adept at solo recitals (his Facing You for ECM in 1970 was a strong harbinger), he began a series of in-concert recitals for Manfred Eicher’s label that attracted acclaim and increasing public interest, but no-one was prepared for what happened to The Köln Concert when it appeared. A long series of intensely rhythmical improvisations that became hypnotic and endlessly repeatable on turntables throughout the world, the album became a runaway bestseller by word of mouth, rapidly escaping the confines of the jazz listeners’ community and spreading into the living rooms of people who never ever listened to, let alone owned, another jazz album. This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre. (KS)
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9
Miles Davis: Bitches Brew (Columbia)
Miles Davis (t), Wayne Shorter (ss), Bennie Maupin (b cl), Joe Zawinul, Chick Corea (el p), John McLaughlin (g), Dave Holland (b), Harvey Brooks (el b), Lenny White, Jack DeJohnette (d), Don Alias (perc) and Jumma Santos (shaker). Rec. 1969
From whatever perspective you choose to view the 1960s – from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May 1968 to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music – established values were being openly questioned, upturned and in general shaken up. So in a decade when the leitmotif was change, it’s arguable that Bitches Brew was the album that shook the music world up most. After all, combining jazz and rock? Yes, there had been albums before Bitches Brew that did just that, but Miles Davis’ position in the jazz world sanctioned the union between two seemingly opposed bedfellows. With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. From the title track with Davis, Shorter and Maupin emerging from the matrix of the mix before being swallowed up by this swirling electrical brew, to ‘Miles Runs the Voodoo Down’ with the trumpeter on the heels of Hendrix, the sound of jazz was changed forever. (SN)
Review Miles Davis – Bitches Brew (40th Anniversary Deluxe Edition) ★★★★★
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8
Charlie Parker: Bird: The Complete Original Master Takes. The Savoy Recordings (Savoy Jazz)
Parker (as, ts), Miles Davis (t), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (p), Tiny Grimes (g, v), Curley Russell, Tommy Potter (b), Harold West and Max Roach (d) plus others. Rec. 1945-48
Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the 1940s is a latter-day compilation of the original 78rpm singles. Early vinyl attempts to collate his best material were haphazard at best, especially from the original Savoy company, so it wasn’t until the 1960s and 70s that things got in any way organised and proper chronological reissues were successfully brought to market. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. For those who want to know and shiver to the thrills of encountering earth-moving genius for the first time, master takes only, then this 2-CD set from the 1980s is the best entry point: you get Parker’s own approved performance, you get just the Savoys and you get superior remastering across just two CDs rather than five or six. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day. (KS)
Feature Charlie Parker – Bird Lives!
7
Charles Mingus: Mingus Ah Um (Columbia)
Mingus (b), Jimmy Knepper/Willie Dennis (tb), John Handy (as, ts), Shafi Hadi (as), Booker Ervin (ts), Horace Parlan (p) and Dannie Richmond (d). Rec. 1959
Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. Ah Um’s release came in the same year as his first evening appearance at the Newport Festival and the start of his record-breaking residency with Eric Dolphy.
The present album, however, was a studio venture with a specially constituted group familiar with Mingus’ working quintets. Ervin’s contributions, for instance, ‘Fables Of Faubus’‚ and the gospelised opener ‘Better Git It In Your Soul’, are a definition of “hot”, while Knepper on the deliberately old-fashioned ‘Jelly Roll’‚ makes it satirical and serious at the same time. Similar things apply to ‘Bird Calls’‚ and ‘Goodbye Pork Pie Hat’, where Handy pays oblique homage to Parker and Lester Young respectively but don’t ignore the crucial reactions of the crisply recorded Richmond. Novice producer Teo Macero’s tight editing allowed for more tunes and more user-friendly presentation than on Blues And Roots. (BP)
Review: Charles Mingus – Mingus Ah Um (50th Anniversary Edition) ★★★★★
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6
Thelonious Monk: Brilliant Corners (Riverside)
Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Rec. 1956
Recording of Brilliant Corners began 50 years ago next month, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Unlike his first two Riverside releases, respectively of Ellington standards and a bunch of other jazz standards, this was nearly all Monk’s own tunes and three of the four were new, none more so than the extraordinary title-track which gave so much trouble to the all-star cast who’d never seen it before. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. The less well-known Ernie Henry was in the pianist’s regular quartet and a post-Parker deviant comparable to Jackie McLean, while Pettiford was a pioneer bopper beloved of Monk except when they disagreed. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane. (BP)
Feature Thelonious Monk: essential recordings
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5
Sonny Rollins: Saxophone Colossus (Prestige)
Rollins (ts), Tommy Flanagan (p), Doug Watkins (b) and Max Roach (d). Rec. 1956
Was Sonny Rollins ready in 1956? Was he ready! Apart from this masterpiece, he also lead from the front on Plus 4, an album featuring the Brown/Roach Quintet of the day in all but name, plus Tenor Madness (the title track featuring a head-on with Coltrane) and the exquisite Plays For Bird. But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals. Rollins himself was clearly inspired enough by such material as ‘St Thomas’ and ‘The Moritat’ from Threepenny Opera to still be playing them in concert 50 years later. Nevertheless, it is tempting to call these original recordings definitive, if only because they do in fact define the essence of Rollins’ approach to improvisation, wringing every nuance and variation he can from the theme and its associated melodic and rhythmic patterns. The blues ‘Blue 7’ was famously dissected for such methodology by Gunther Schuller back at the time of Saxophone Colossus’ initial release but that failed to stop Rollins from another two years of super-human saxophone playing before his dramatic retirement in 1959. This is still the biggest-selling jazz album of all time in Japan. (KS)
Feature Sonny Rollins: Albums That Shook The World
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4
Bill Evans Trio: Sunday At The Village Vanguard (Riverside)
Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961
None of the three men that made this music one fine June day in 1961 had any inkling of the impact it would have down the years: on listening to the playbacks LaFaro did mention to Evans that he thought they’d got pretty close to optimum performance, but that was about it. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. This album became Evans’ own personal choice of what he thought best represented the trio through the spectrum of LaFaro’s prodigiously gifted bass playing. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives (and in some cases, their careers). Why? Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be. This is hardly to downgrade Evans’ own contributions, all of which retain their depth and freshness today. The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up. (KS)
Feature: Ten life-changing jazz piano trio recordings
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3
Ornette Coleman: The Shape of Jazz To Come (Atlantic)
Coleman (as), Don Cherry (t), Charlie Haden (b), Billy Higgins (d). Rec. 1959
I don’t know what it was about Ornette that led record company executives to go for the overkill on the album names, but by the time Atlantic released this, the altoist’s debut on the label, he’d already had albums on Contemporary called Something Else!!!! and Tomorrow Is The Question. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. Of course it was a complete red herring, because although Ornette did have a profound influence on subsequent jazz developments, it was an oblique one compared with that of Coltrane’s or Eric Dolphy’s or Miles Davis’. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach. He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Later we all learned that he’d cut his musical teeth on tenor in Texas R&B bands and it all made sense: at the time it sounded as if Attila the Hun had been resurrected at the Five Spot and in Atlantic’s recording studios and was in no mood to do deals. Ornette never did, either, bless him. (KS)
Review: Ornette Coleman – Original Album Series ★★★★★
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2
John Coltrane: A Love Supreme (Impulse!)
Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964
No matter how many times you approach this album it’s always greater than the sum of whatever parts you compile. Yes, it’s perfect, yes, it’s ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album’s achievement. You can’t lay it at the door of Coltrane’s aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme.
This is a very powerful part of the album’s pull, as is the tautness of each selection’s form, and it must also account for the hold it has sustained magically over listeners who otherwise venture rarely into any form of jazz, including the progressive rock fans of the late 60s and onwards. Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture. Nothing could be the same again. It still isn’t.(KS)
Review: John Coltrane – A Love Supreme: The Complete Masters ★★★★
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1
Miles Davis: Kind of Blue (Columbia)
Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959
Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, explains why Kind of Blue tops the list:
How does one properly gauge impact? There’s no smouldering crater in the case of Kind of Blue, Miles’ melancholy, modal-jazz masterwork. The 1959 disc didn’t arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all “best of” lists, nudging aside so many rock, pop and hip-hop recordings.
Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5,000 copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. Often it’s the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused.
But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. A once-in-a-lifetime line up that makes the term “all-star” seem inadequate: trumpeter Davis, plus sax men John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb.
Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. At a time when the music had “gotten thick” as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence.
The motivation behind going “modal” in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
Kind of Blue became the improviser’s bible upon its release in late 1959. For one of its joint creators – John Coltrane – it pointed the way forward: he led much of the jazz world into the 1960s after his modal lessons with Miles. At Coltrane’s side pianist McCoy Tyner adapted Bill Evans’ innovation of quartal harmony, the use of fourths on ‘So What’, to legendary results.
At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
“I think the implications of Kind of Blue we now feel everywhere, but it wasn’t as deep as they became over time,” says saxophonist Dave Liebman. “Name me some music where you don’t hear echoes of it,” Herbie Hancock challenges.
“I hear it everywhere – it becomes hard to separate the modality that exists in rock ’n’ roll, some of it could be directly from Kind of Blue.”
Write a book with as narrow a focus as one jazz album (let’s say Kind of Blue) and, trust me, one ends up thinking and rethinking the subject years after publication. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Yet, especially in the mainstream press, the music chosen for those “best this” and “most that” lists simply falls in line with a long-established view with no question and little explanation.
For this reason and for others, I’m not a fan of top 10 lists. Or of 20, 100, or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. At least in my view.
Of the many ideas I gathered for my book on Kind of Blue, there is one quote in particular that comes to mind whenever the subject of relative value arises.
“If you like Kind of Blue, turn it over, look who plays on it,” says keyboardist Ben Sidran. “If you particularly like the piano, go buy a Bill Evans record, buy a Wynton Kelly record. If you like the alto playing, buy a Cannonball Adderley record. That one record – it’s not even six degrees of separation – is maybe two degrees of separation from every great jazz record.”
My own introduction to Kind of Blue took place in 1976, a time when my teenage ears were filled with post-Woodstock rock, and the first bursts of punk. Springsteen was a recent discovery as was Bob Marley. One day a mate whose musical taste I trusted implicitly yanked a worn copy of Miles’ LP out of my father’s collection – which I avoided as a matter of principle and teenage independence. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. I also came to realise how narrowly I had been casting for new sounds. I had been standing on the shore of a vast ocean of musical possibilities, yet fishing in one small inlet.
I didn’t fully realise it then, but Kind of Blue helped me see the vastness before me and rejoice in its expanse. I’ve been sailing the waters, listening and learning, ever since.
If those 5,000 per week sales figures are any indication, I’m not alone. As a measure of impact – I can think of nothing more significant than the music that first unmoors one from preconceptions and the need to stay in one place. For this alone, for serving for so many as a portal to an entire world of creative music, I agree that Kind of Blue continues to earn its status as a number one.
Feature: Miles Davis – Kind of Blue
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Bravado: Shop für offizielles Merchandise & Musik. Vinyl, CD, T Shirts, Hoodies, Pullover, unterschrieben mit original Autogramm. Geschenkideen & Aktionen!
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dbpedia
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https://www.jazzmusicarchives.com/artist/chico-hamilton
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en
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CHICO HAMILTON
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http://www.jazzmusicarchives.com/images/artists/chico-hamilton-20221230130740.jpg
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http://www.jazzmusicarchives.com/images/artists/chico-hamilton-20221230130740.jpg
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"cool jazz",
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"EPs on CD",
"Vinyl",
"LP",
"cassette",
"videos",
"Blu-ray",
"DVD",
"VHS"
] | null |
[] | null |
CHICO HAMILTON is a post bop, cool jazz, hard bop, world fusion, funk jazz, latin rock/soul, soul jazz, rnb, pop/art song/folk, latin jazz, jazz related soundtracks, acid jazz fusion music artist. This page includes CHICO HAMILTON's : biography, official website, pictures, videos from YouTube, related forum topics, shouts, news, tour dates and events, live auctions, online shopping sites, detailled reviews and ratings and the full discography of albums: studios, live, compilations (boxset), EPs on CD, Vinyl / LP or cassette and videos released on Blu-ray, DVD or VHS
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en
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/faviconJMA.ico?nocache=1
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JazzMusicArchives.com
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https://www.jazzmusicarchives.com/artist/chico-hamilton
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877
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dbpedia
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https://www.musicdirect.com/music/vinyl/chico-hamilton-the-dealer-verve-by-request-series-180g-vinyl-lp/
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Chico Hamilton - The Dealer: Verve by Request Series (180g Vinyl LP)
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[] |
[
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"Audiophile Records",
"Turntables",
"Home Audio",
"Speakers"
] | null |
[] | null |
The world's largest online retailer of high-end audio, audiophile music, and accessories. We specialize in vinyl records and turntables.
|
en
|
Music Direct
|
https://www.musicdirect.com/music/vinyl/chico-hamilton-the-dealer-verve-by-request-series-180g-vinyl-lp/
|
Place a qualifying order over $49* and receive FREE DOMESTIC GROUND SHIPPING.
When your order subtotal reaches $49 in the shopping cart the shipping charge for associated qualifying items will automatically be adjusted on your order. If you continue to see a shipping charge on your order, please check the exclusions listed below.
*Ground shipping to the 48 contiguous states only (FPO/APO excluded).
**Orders must be at least $49, before tax, to qualify.
This offer also excludes Oppo, demos, closeouts/sale items and freight shipped items.
This offer cannot be applied to previously placed orders.
Music Direct reserves the right to select the carrier and ship method within the terms of this offer.
Music Direct reserves the right to change the terms of this promotion or discontinue this offer at any time.
This offer is not included on any shipments to FPO/APO addresses. Music Direct will contact you with shipping charges for these addresses.
Customers can choose an alternative expedited shipping method but it will not qualify for this free shipping offer.
Music Direct will not charge additional shipping for any back orders items. Orders will be held to ship all back ordered items together when they are all received in stock.
Please Note: Orders that are less than $125 are not guaranteed to ship via FedEx. The ground shipping method used will be determined at Music Direct's discretion. Average ground delivery time ranges from 7-14 business days. Music Direct does not guarantee delivery within that specified time period.
We strive for 100% customer satisfaction with every order and back it up with our 60-Day Satisfaction Guarantee. Should you have an issue of any kind, rest assured we're here to make it right! We stand behind every product we sell and offer free live support if you need assistance setting-up, troubleshooting, or maximizing your purchase. We also have a variety of resources available to customers including:
Access to our expert sales staff at 312-433-0200
Email customer support
Product Q&As
In the event you receive a defective or damaged product you can exchange or return items within 60 days. You can review our complete return policy here.
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877
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dbpedia
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http://overdoseoffingalcocoa.blogspot.com/2013/10/chico-hamilton.html
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en
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An Overdose Of Fingal Cocoa
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[
""
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Chico Hamilton - Trio! Live @ Artpark - 2008 - Joyous Shout! Chico Hamilton, a subtle and creative drummer, will probably alway...
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http://overdoseoffingalcocoa.blogspot.com/favicon.ico
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http://overdoseoffingalcocoa.blogspot.com/2013/10/chico-hamilton.html
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Remember, even Cathy Berberian knew that you don't do it without your fez on!
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877
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https://www.jazzmusicarchives.com/artist/freddie-gambrell
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FREDDIE GAMBRELL
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[
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"pictures",
"videos from YouTube",
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"EPs on CD",
"Vinyl",
"LP",
"cassette",
"videos",
"Blu-ray",
"DVD",
"VHS"
] | null |
[] | null |
FREDDIE GAMBRELL is a hard bop music artist. This page includes FREDDIE GAMBRELL's : biography, official website, pictures, videos from YouTube, related forum topics, shouts, news, tour dates and events, live auctions, online shopping sites, detailled reviews and ratings and the full discography of albums: studios, live, compilations (boxset), EPs on CD, Vinyl / LP or cassette and videos released on Blu-ray, DVD or VHS
|
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|
/faviconJMA.ico?nocache=1
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JazzMusicArchives.com
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https://www.jazzmusicarchives.com/artist/freddie-gambrell
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877
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dbpedia
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0
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https://www.instagram.com/reel/Cky-bUuvVAN/
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Instagram
|
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[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
877
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dbpedia
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https://www.amazon.com/Trio-CHICO-HAMILTON/dp/B00000403B
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Amazon.com
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877
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https://www.loc.gov/collections/jazz-on-screen-filmography/articles-and-essays/overview-of-jazz-on-the-screen/
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Overview of Jazz on the Screen by David Meeker
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The cultural, sociological and technical histories of jazz and motion pictures have run in parallel, sometimes intersecting, lines ever since both forms emerged at the end of the nineteenth century. Neither found it easy to be accepted as a legitimate form of personal or artistic expression. The early days, spent at the very fringes of respectable society, were difficult in each case. Film grew up in vaudeville houses, traveling fairgrounds, and penny arcades, jazz in the lower depths of New Orleans and the Mississippi Delta. Few supposedly respectable people dared to be seen at screenings and performances in those first years. In the 1920s jazz and film both faced the tremendous challenge of the electric recording revolution. They slowly and painfully adapted themselves, eventually growing to freedom, maturity and respectability until finally they were acknowledged to be two of the most important and influential cultural forces in our civilization.
|
en
|
The Library of Congress
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The cultural, sociological and technical histories of jazz and motion pictures have run in parallel, sometimes intersecting, lines ever since both forms emerged at the end of the nineteenth century. Neither found it easy to be accepted as a legitimate form of personal or artistic expression. The early days, spent at the very fringes of respectable society, were difficult in each case. Film grew up in vaudeville houses, traveling fairgrounds, and penny arcades, jazz in the lower depths of New Orleans and the Mississippi Delta. Few supposedly respectable people dared to be seen at screenings and performances in those first years. In the 1920s jazz and film both faced the tremendous challenge of the electric recording revolution. They slowly and painfully adapted themselves, eventually growing to freedom, maturity and respectability until finally they were acknowledged to be two of the most important and influential cultural forces in our civilization.
It could be thought ill advised for any one person to state quite categorically exactly where and when the history of "Jazz on the Screen" should begin for the sands shift as our knowledge of history unfolds. There were certainly plenty of appearances by jazz groups and individuals in silent pictures. The golden days of silent films were the 1920s; not for nothing were those days also known as The Jazz Age for, although the word Jazz in that context covered a much wider area than that of the music that we know today, it was a period when the music started to achieve the popularity that was to become so huge later on, when pre-electric jazz recordings became standard display items on record shop counters, when jazz bands became the centre of the evening's entertainment at dances and social occasions.
The cinema was, as always, quick to catch on to this new phenomenon, portraying an endless stream of flappers and their beaus gyrating madly to a succession of jazz or dance bands in literally dozens of movies. Few of these bands and the individual musicians in them have ever been identified or ever will be. In the silent days the bands would actually have been playing for the dancers on set, so they were comprised of genuine performing musicians, whereas in all but very early sound films the musicians, more often than not actor-musicians or sideliners, as they were later to become known, would be miming to pre-recorded tracks. A few name personnel working at this time can, however, be identified. Mutt Carey's Liberty Syncopators, for instance, are clearly playing for the dancers in LEGION OF THE CONDEMNED (1928). Speed Webb and his Orchestra were active at the Fox Studios and can be seen in several features including RILEY THE COP (1928).
Throughout the first three decades of the twentieth century much of the groundwork was laid down by both the film and the recording industries for the eventual marriage of sound with film as a commercial proposition. Using Bell Laboratory's sound-on-disc system, the specially recorded music soundtrack to Warner Bros.' feature, DON JUAN, premiered on 6th August 1926, together with a full program of all-talking shorts. It alerted the general public to the possibility of what was to come. However, it was more than a year later, on 6th October 1927, that the part-talkie, THE JAZZ SINGER, was eventually shown to ecstatic New York City audiences - though still with its sound played on 16" discs. It is, of course, ironic that this seminal presentation was so-titled for Al Jolson is hardly anyone's idea of a jazz singer in today's terms. Yet, the jazz/movie relationship was now set to change forever as wiring for sound became an urgent priority for motion picture exhibitors across the world. It was a slow process for which the film industry compensated by continuing to produce silent versions of their product for some time to come. (Bizarrely, a silent version of THE JAZZ SINGER, with the standard intertitles, was released in many countries in Europe and elsewhere so audiences must have wondered what all the fuss was about. The sound version of THE JAZZ SINGER wasn't shown in Paris, for instance, until as late as 1929). But by 1930 most studios and, once again, the theater chains, had re-equipped. Now their soundtracks could be recorded and played back on optical film.
With sound an integral component of the moving image, and with music of all kinds in constant demand by the film studios, the jazz musician had an opportunity to extend himself and to earn new money through both performance and composition. Perhaps the earliest evidence of this being done is to be found in the two short films made by the pioneer sound engineer Lee DeForest in 1922, which featured performances by Eubie Blake and Noble Sissle. They were soon followed by the numerous one-reel shorts produced by Warner's Vitaphone Corporation in which many of the comedians, dancers, singers, bands and sundry entertainers of the time appeared. It is now clear that the short film units attached to the major Hollywood studios - Universal, Columbia, Warner Bros., MGM, Twentieth Century-Fox, and Paramount - did a great service to the history of jazz. On account of their work we can still see and hear the wealth of jazz talent active during those halcyon years immediately after Warner Bros. created the Vitaphone Corp. in 1926. Among the films are ARTIE SHAW'S CLASS IN SWING (1939), Duke Ellington in BUNDLE OF BLUES (1933), BOB CROSBY AND HIS ORCHESTRA (1938), Louis Prima in SWING CAT'S JAMBOREE (1938), Ethel Waters in RUFUS JONES FOR PRESIDENT (1933), MILLS BLUE RHYTHM BAND (1933), Claude Hopkins in BY REQUEST (1935), Eubie Blake in PIE, PIE, BLACKBIRD (1932), GENE KRUPA, AMERICA'S ACE DRUMMER MAN AND HIS ORCHESTRA (1941), Nina Mae McKinney in PASSING THE BUCK (1932), The Mound City Blue Blowers in NINE O'CLOCK FOLKS (1929), Billie Holiday in SYMPHONY IN BLACK - A RHAPSODY OF NEGRO LIFE (1935), Red Nichols in MILLION DOLLAR NOTES (1935), CAB CALLOWAY'S HI-DE-HO (1934) and Ina Ray Hutton in ACCENT ON GIRLS (1936).
In the early 1930s, once the cinema had learnt to talk properly, producers began to use the talents of jazz men and women to provide lively musical interludes in their feature films, many of which were backstage musicals or show business melodramas. During the decade it became quite routine for audiences to see the popular bands of the period such as the ones led by Duke Ellington, Louis Armstrong, Jimmie Lunceford, Les Hite, Louis Prima, Paul Whiteman, Cab Calloway, Ted Lewis and Benny Goodman. But often the appearances by black bands were carefully designed to be in self-contained sequences. This made them easy to delete should exhibitors in the southern United States decree. (In the 1940s the singer Lena Horne suffered this indignity quite regularly.)
It was not long, however, before the cinema was promoting many of its jazz entertainers as movie stars in their own right. During World War II, with audiences desperate for escapist musical entertainment, Hollywood began to build pictures around their new-found musical artists much to the benefit of the likes of Gene Krupa, Glenn Miller, Tommy and Jimmy Dorsey, Jack Teagarden, Hoagy Carmichael, Count Basie, Artie Shaw, Harry James, Woody Herman, Les Brown and Stan Kenton. Jazz biopics (though mostly more fiction than fact) started to appear with ORCHESTRA WIVES (1942), IS EVERYBODY HAPPY? (1943), THE FABULOUS DORSEYS (1947) and YOUNG MAN WITH A HORN (1949), followed in later years by THE GLENN MILLER STORY (1953), THE BENNY GOODMAN STORY (1955), ST. LOUIS BLUES (1958), THE FIVE PENNIES (1959), THE GENE KRUPA STORY (1959), A MAN CALLED ADAM (1966), SWEET LOVE, BITTER (1966), LADY SINGS THE BLUES (1972), LOUIS ARMSTRONG - CHICAGO STYLE (1975), SCOTT JOPLIN (1976), SVEN KLANGS KVINTETT (1976), BIRD (1988), BIX UN'IPOTESI LEGGENDARIA (1991), FOR LOVE OR COUNTRY (2000) and RAY (2004).
Even the jazz life itself, at least as it was perceived by movie people, had soon became an exploitable product with fanciful pictures like SYNCOPATION (1942,) NEW ORLEANS (1947), PETE KELLY'S BLUES (1955) and ALL NIGHT LONG (1961) but, happily, real elements of a working musician's life began to be written into movies like THE CONNECTION and TOO LATE BLUES (both 1961), THE COOL WORLD (1963), BYL JAZZ (1981), MY IZ DZHAZA/WE FROM JAZZ (1983), THE GIG (1984), AUTOUR DE MINUIT (1986), LUSH LIFE (1993), KANSAS CITY (1995) and SWEET AND LOWDOWN (1999).
Soundies and Their Antecedents
One of the short-lived but quite fascinating phenomena of the 1940s was the RCM Soundie (the initials stood for Roosevelt, Coslow, Mills) which were 3-minute films produced during the years of World War II for use in a kind of visual juke box. Eight of them were spooled together and then projected one at a time, via a complicated system of reflectors, on to the rear of a glass screen (one major flaw in the technology was that in order to play, say, selection number eight, you had to sit through numbers one to seven first!). The Mills Panoram Soundies machines were rented to thousands of locations across America - bars, hotel lobbies, bus stations, restaurants and so on. The customer would insert a dime for each 3-minute selection - whichever one was next in line.
The Soundies were churned out cheaply and fast but they featured many of the popular entertainers of the time, usually performing their current, though now long-forgotten record hits. However, during the nationwide American Federation of Musicians' ban on new recordings in 1942/3 anxious producers were forced to call upon all their ingenuity to maintain the Soundies production schedule - some 50 titles per month were required - by contracting all kinds of non-musician performers such as dancers, jugglers, comics, acrobats and other vaudeville novelties.
Despite the impact of the recording ban, the Soundies are still invaluable film records of musicians, including Duke Ellington, Jimmy Dorsey, Fats Waller, Count Basie, Nat King Cole, the Mills Brothers and others, even though their rock bottom production values leave much to be desired. The music in Soundies was almost always recorded first and the artists would then mime on camera to playback with varying degrees of professionalism. For technical reasons the prints themselves were printed in reverse as the confined space inside the Panoram machines required a complex series of mirrors in order to project the image on to the inside of the screen. When the whole Soundie novelty eventually wore off in 1946 the surplus stocks of prints were sold off to television and to the home movie enthusiast. These were the prints that, with a corrected image, eventually found their way to the 16mm and film collectors' markets.
The Soundie production concept was revived between 1950 and 1952 by Lou Snader's Snader Telescriptions in order to produce a series of 3-minute musical performances to fill program junctions on television. Again, major jazz performers were involved, among them the Delta Rhythm Boys, Duke Ellington, Cab Calloway, Mel Tormé, Count Basie and Peggy Lee. In the 1960s, a similar system appeared in Europe called the Scopitone, produced in color and boasting magnetic sound. These were particularly popular in France but failed to travel successfully despite headlining such artists as Julie London, Claude Luter, Clark Terry, Claude Bolling and Sue Raney. Also in the early 1960s, and immensely popular in Britain and in Italy, was a series of over 600 Cinebox coin-box operated jukebox music shorts (renamed Colorama in the United States). They were produced mainly for the European market in Italy, though some were made in France and a few in Britain, promoting popular music entertainers with the occasional jazz group making appearances.
Jazz and the Animated Film
One of the most productive associations of jazz and the moving image is to be found in the area of the animated cartoon. Animators had fallen under the influence of jazz at around the same time as the sound film gained public acceptance. They were quick to exploit its rhythmic and harmonic possibilities using music numbers such as "Tiger rag" and commissioning the jazz inflected orchestras of Abe Lyman and Gus Arnheim to record their soundtracks. The animators Max and Dave Fleischer were particularly quick to realize the potential of the popularity of famous jazz personalities and produced some of their finest work around such figures as Cab Calloway in MINNIE THE MOOCHER (1932), SNOW WHITE (1933) and THE OLD MAN OF THE MOUNTAIN (1933); the Boswell Sisters in SLEEPY TIME DOWN SOUTH (1932); Louis Armstrong in I'LL BE GLAD WHEN YOU'RE DEAD YOU RASCAL YOU (1932); the Mills Brothers in DINAH (1933), I AIN'T GOT NOBODY (1932) and WHEN YUBA PLAYS THE RUMBA ON THE TUBA (1933) and Don Redman in I HEARD (1933).
A further phase began when Hollywood animators produced a memorable series of cartoons caricaturing jazz celebrities such as Paul Whiteman, Louis Armstrong, Fats Waller, the Mills Brothers and Benny Goodman. Their titles included CLEAN PASTURES (1937), SWING WEDDING (1937), PORKY AT THE CROCADERO (1938), HAVE YOU GOT ANY CASTLES? (1938), WHOLLY SMOKE (1938), COAL BLACK AND DE SEBBEN DWARFS (1942), TIN PAN ALLEY CATS (1943), THE SWOONER CROONER (1944) and BOOK REVUE (1946). In the 1940s stereotypical jazz caricatures, usually black, were also the inspiration for Walter Lantz's brilliant series of Swing Symphonies whose titles alone are enough to set the feet tapping, SCRUB ME MAMA WITH A BOOGIE BEAT (1941), BOOGIE WOOGIE BUGLE BOY OF COMPANY B (1941), BOOGIE WOOGIE SIOUX (1942), COW-COW BOOGIE (1943), ABOU BEN BOOGIE (1944) and SLIPHORN KING OF POLAROO (1945). The Hungarian puppeteer, George Pál, gave us his fascinating series of Puppetoons featuring Charlie Barnet for JASPER IN A JAM (1946), Duke Ellington for DATE WITH DUKE (1947) and Woody Herman for RHAPSODY IN WOOD (1947).
Around the same time in Canada Norman McLaren tried a few jazz experiments with BOOGIE DOODLE (1948) to music by Albert Ammons and his famous BEGONE DULL CARE (1949) featuring soundtrack work by the Oscar Peterson Trio. The Walt Disney Studio rarely used jazz (despite later becoming the home of The Firehouse Five Plus Two) but they did come up with a couple of jazz sequences for Benny Goodman in MAKE MINE MUSIC (1945). Highlighting the 1950s was the emergence of the masterful team of John and Faith Hubley and the sadly neglected Ernest Pintoff. They showed genuine feelings for jazz when utilizing the talents of some of the period's finest instrumentalists and composers, including Dizzy Gillespie, Oscar Peterson, Benny Carter, Shorty Rogers, Quincy Jones, Stan Getz and Lionel Hampton.
The music was not, however, an entirely American prerogative and many worthwhile cartoons have been produced in Europe featuring the soundtrack work of such major jazz figures as John Dankworth, Martial Solal, Jacques Loussier, Claude Luter, Svend Asmussen, Romano Mussolini and Krzystof Komeda.The versatility and flexibility of jazz musicians, the abstract and free-form quality of their ideas and their adeptness at improvisation make them eminently qualified to work creatively with animation directors. The jazz musician's art is not, as some would have it, to play ‘jazzy' music but rather to create imaginative, unfettered musical lines - how much closer to the concept of the animator's art could one get?
Jazz Documentaries
A major shift in the genre took place in the late 1950s with the release of the first major jazz documentary, JAZZ ON A SUMMER'S DAY (1959), a mainly irrelevant but nevertheless hugely popular film record of the 1958 Newport Jazz Festival. The film was a commercial success and, despite its unfortunate tendency to sacrifice the music for crafty camera work, lighting effects, and cutaways to the Newport milieu,The film's commercial success the film's popularity had an enormous influence on the jazz and blues documentary tradition that is still current today. From then onwards, usually with television funding involved, many of the world's major jazz and blues festivals have been captured by the cameras and there is now a vast repository of performance footage in existence from such locations as Montreux, Newport, Montreal, Monterey and Berlin. Over the years documentaries of varying quality have now been made around a seemingly endless series of jazz subjects and themes. A few of the more creative documentaries have been THE LAST OF THE BLUE DEVILS (1979), BIX: AIN'T NONE OF THEM PLAY LIKE HIM YET (1981), DUKE ELLINGTON REMINISCING IN TEMPO (1991), BENNY GOODMAN ADVENTURES IN THE KINGDOM OF SWING (1993), ARTIE SHAW: TIME IS ALL YOU'VE GOT (1984), TALMAGE FARLOW (1981), LOUIS PRIMA: THE WILDEST (1999), ÅKE HASSELGÅRD STORY (1983), TO THE COUNT OF BASIE (1979), KEEPING TIME: THE LIFE, MUSIC AND PHOTOGRAPHS OF MILT HINTON (2002), CHICO HAMILTON DANCING TO A DIFFERENT DRUMMER (2002), ART PEPPER: NOTES FROM A JAZZ SURVIVOR (1982), THE WIZARD OF WAUKESHA (1979) (Les Paul), CHARLES MINGUS: TRIUMPH OF THE UNDERDOG (1997), LISTEN UP: THE LIVES OF QUINCY JONES (1990), BIRD NOW (1987) (Charlie Parker), SONG OF THE SPIRIT (1988) (Lester Young), KONITZ: PORTRAIT OF THE ARTIST AS A SAXOPHONIST (1987), TROLLKARLEN (1999) (Jan Johansson), ELLA FITZGERALD SOMETHING TO LIVE FOR (1999), SUN RA: A JOYFUL NOISE (1980) and THE LAST OF THE FIRST (2002) (The Harlem Blues & Jazz Band).
One of the great cinematic pleasures for the jazz enthusiast has always been to come across an unexpected appearance by one of their idols in a movie, particularly when it's entirely unexpected. For example, spotting Eddie Lang in KING OF JAZZ (1930), Sidney Bechet in EINBRECHER (1930), Stéphane Grappelly and George Shearing in ENGLISH WITHOUT TEARS (1944), Dorothy Donegan in SENSATIONS OF 1945 (1944), Svend Asmussen as a postman in PIPPI LÅNGSTRUMP (1949), Laurindo Almeida in SAILOR BEWARE (1951), Tal Farlow in TEXAS CARNIVAL (1951), Richie Kamuca in KINGS GO FORTH (1958), Billy May in NIGHTMARE (1956), Tubby Hayes in A KING IN NEW YORK (1957), Cleo Laine with Johnny Dankworth in SIX-FIVE SPECIAL (1957), Humphrey Lyttelton in THE TOMMY STEELE STORY (1957), Lucky Thompson in AIMEZ-VOUS BRAHMS? (1961), Pete Candoli in DAYS OF WINE AND ROSES (1962), Anita O'Day in THE OUTFIT (1973), Med Flory as a cop in HUSTLE (1975), John Surman in MERRY-GO-ROUND (1977/8), Dexter Gordon as a pianist in AWAKENINGS (1990), Lalo Schifrin as the conductor in RED DRAGON (2002) and so many more.
Jazz Motion Picture Scores
In 1951, once again at Warner Bros., yet another jazz revolution had occurred on a Hollywood recording stage, one which was to have far reaching effects on the music world extending until the very present...and beyond. Composer Alex North wrote and recorded the first ever jazz-orientated film score for a dramatic picture, A STREETCAR NAMED DESIRE (1951). The score served to color the sound of the film's steamy New Orleans setting. It has become a well-deserved landmark in the history of film music and paved the way for numerous movie jazz scores. Producers, ever on the lookout for new ways of cutting costs soon tumbled to the sad truth that jazz musicians were relatively cheap to hire and that a small ensemble, an octet, or even a quartet could satisfactorily provide the necessary musical background to a film's action.
Up until that time all the major Hollywood studios had kept their own full-time orchestras; their days were now numbered. The recent demise of the big band era had dumped hundreds of skilled, hard-working jazz instrumentalists in the Los Angeles and New York areas eager for the rewards offered by the film, TV, and recording studios. They could sight read and could play anything put before them. Jazz scores soon proliferated. Composer Leith Stevens started the ball rolling with his seminal use of source music jazz cues in THE WILD ONE (1953) arranged and played by Shorty Rogers and his Giants. Elmer Bernstein used rhythmic elements of jazz in his influential scores for THE MAN WITH THE GOLDEN ARM (1955), again performed by Shorty Rogers, and for SWEET SMELL OF SUCCESS (1957) featuring the Chico Hamilton Quintet. Johnny Mandel used the talents of top West Coast musicians for I WANT TO LIVE (1958). Suddenly jazz scores were hip.
Producer Blake Edwards was quick to jump on the bandwagon by adventurously hiring Henry Mancini for what was to become a groundbreaking jazz score to his television series featuring a jazz-loving detective, PETER GUNN (1958/61), soon followed by John Cassavetes' STACCATO (1959). Before long a whole school of jazz composers was busy churning out jazz-orientated music tracks for TV series - MIKE HAMMER (1957/59), RICHARD DIAMOND (1957/60), M SQUAD (1957/60), MR LUCKY (1959). Made-for-television movies gainfully employed Pete Rugolo, Gil Mellé, Quincy Jones, Shorty Rogers, Benny Carter, Oliver Nelson, Benny Golson, Artie Kane, and J. J. Johnson who all worked regularly in the studios during the 1960s and 1970s before the pendulum swung back to embrace symphonic scores or more fashionable styles of music making., isolated jazz and embraced more fashionable styles of music making.
Some jazz musicians still active today have worked on more than 1,000 film and television soundtracks since the 1950s though not always as jazz soloists, of course. Only occasionally in the past had their work received the screen credit due to them but a daring and influential step forward was taken by composer Quincy Jones when he listed his soundtrack musicians during the end titles of a major Hollywood studio production, THE HOT ROCK (1972). Main instrumental soundtrack soloists are sometimes credited nowadays though still not as often as one, or they, would wish.
The film industry in Europe too had welcomed the jazz composers' work. In France, jazz enthusiast and filmmaker Louis Malle enticed Miles Davis into the studio to improvise directly to the images in his film L'ASCENSEUR POUR L'ÉCHAFAUD (1957). Art Blakey and The Jazz Messengers were used on the soundtrack of Edouard Molinaro's DES FEMMES DISPARAISSANT (1958). Roger Vadim then recorded Art Blakey again, in addition to Thelonious Monk, for his film LES LIAISONS DANGEREUSES 1960 (1959). Many of the stature of André Hodeir, Johnny Dankworth, Henry Crolla, Klaus Doldinger, Claude Bolling, Kenny Graham, Michel Portal, Giorgio Gaslini, Krzysztof Komeda and the jazz-orientated Michel Legrand have contributed between them to literally hundreds of movie scores. It is interesting to learn the extent to which jazz musicians have contributed to one composer's movie scores. A list of some of the major names who have worked on film soundtracks with the French maestro Philippe Sarde is impressive:
Brass: Chet Baker, Aimé Barelli, Lester Bowie, Billy Byers, Nat Peck, Malcolm Griffiths, Henry Lowther, Clark Terry, Jiggs Whigham.
Reeds: Stan Getz, Johnny Griffin, Hubert Laws, Claude Luter, Hubert Rostaing, Archie Shepp, Wayne Shorter, Alan Skidmore, Stan Sulzmann, John Surman, Phil Woods, Lee Konitz, Tony Coe, George Coleman.
Keyboards: Herbie Hancock, John Lewis, Eddy Louiss, Maurice Vander.
Guitars: Philippe Catherine, Larry Coryell.
Violins: Stéphane Grappelli, Didier Lockwood.
Harmonica: Toots Thielemans.
Vibes: Milt Jackson.
Bass: Ron Carter, Barry Guy, Percy Heath, Pierre Michelot, Guy Pedersen, Buster Williams, Chris Laurence.
Drums: Kenny Clarke, Steve Gadd, Billy Hart, Tony Oxley,Tony Williams.
Percussion: Billy Cobham, Frank Ricotti.
Ghosting
Apart from their anonymous employment on soundtracks there are many other areas of movie work open to the more articulate jazz musician - composing, arranging, orchestrating, supervising, copying, fixing, etc. One of the most fascinating areas of studio work is "ghosting" or "soundtracking" to someone else's moving image. An inordinate amount of precision and sheer professionalism is given over to this highly skilled work, playing and then synchronizing appropriate sounds to an actor's movements on screen. This can involve an entire band, as in BLAZING SADDLES (1974), or simply one or more solo instrumentalists. A number of examples, only a few of whom received screen credit for their extraordinary work:
Duke Ellington (piano) for Guy Lombardo - MANY HAPPY RETURNS (1934)
Bobby Hackett (trumpet) for Fred Astaire - SECOND CHORUS (1940)
Snooky Young (trumpet) for Jack Carson - BLUES IN THE NIGHT (1941)
Danny Polo (clarinet) for Bing Crosby - BIRTH OF THE BLUES (1941)
Mannie Klein (trumpet) for Melvyn Douglas - OUR WIFE (1941)
Phil Moore (piano) for Jimmy Conlin - THE PALM BEACH STORY (1942)
Frank Beach (trumpet) for Oliver Hardy - JITTERBUGS (1943)
Barney Bigard (clarinet) for Glenn Vernon - DING DONG WILLIAMS (1946)
Arnold Ross (piano) for Maureen O'Hara - DO YOU LOVE ME (1946)
Kenny Baker (trumpet) for Kay Kendall - GENEVIEVE (1953)
Johnny Williams (drums) for Ray Milland - LET'S DO IT AGAIN (1953)
Humphrey Lyttelton (trumpet) for John Mills - IT'S GREAT TO BE YOUNG! (1956)
Pete Candoli (trumpet) for Tony Curtis - KINGS GO FORTH (1958)
Red Nichols (cornet) for Danny Kaye - THE FIVE PENNIES (1959)
Uan Rasey (trumpet) for Robert Wagner - ALL THE FINE YOUNG CANNIBALS (1960)
Shake Keane (trumpet) for Roy Castle - DR TERROR'S HOUSE OF HORRORS (1964)
Ronnie Lang (alto sax) for Michael Caine - HURRY SUNDOWN (1966)
Nat Adderley (trumpet) for Sammy Davis, Jr. - A MAN CALLED ADAM (1966)
Justin Gordon (tenor sax) for Gene Hackman - THE CONVERSATION (1974)
Georgie Auld (tenor sax) for Robert De Niro - NEW YORK, NEW YORK (1977)
Maynard Ferguson (trumpet) for Burt Young - UNCLE JOE SHANNON (1978)
Branford Marsalis (soprano sax) for Sean Connery - THE RUSSIA HOUSE (1990)
Bob Cooper (tenor sax) for Jeff Goldblum - LUSH LIFE (1993)
Howard Alden (guitar) for Sean Penn - SWEET AND LOWDOWN (1999)
Arturo Sandoval (trumpet) for Andy Garcia - FOR LOVE OR COUNTRY (2000)
Terence Blanchard (trumpet) for Val Kilmer - THE SALTON SEA (2002)
Television
Following many years of experimentation, television--the most voracious medium of them all--finally began to appear (in very small numbers) in homes in Britain, Germany and the United States in the mid- to late 1930s. In Britain, Henry Hall and his Orchestra soon became regular performers on BBC Television's single channel with their programs of popular dance music. It wasn't until 1938, though, that the first recorded appearance by a jazz musician took place when Fats Waller, then on tour in Britain, performed on the pipe organ of Alexandra Palace in North London, BBC Television's studio at the time.
In the United States, it was during the early 1940s when the first jazz concerts were televised but, in Europe, the outbreak of World War II in 1939 put a temporary moratorium on regular television services. Sadly, no jazz footage from those days is known to have survived as all transmissions were live. (Although there were a few enthusiastic amateurs busily photographing programs on an ad hoc basis - and without any sound - the results were somewhat less than successful. It was not until 1947 that the American practice of making kinescopes was formally adopted. This was a method of filming off a television monitor while a show was actually being transmitted, sometimes necessary in the United States in order for a program to be repeated in a different time zone. Magnetic tape was not to be introduced in any worthwhile form until the 1950s.)
Evidently, as is the case today, much of the material transmitted was in the form of film so considerable quantities of what might be termed "early television" has in fact survived. German archives are preserving a lot of documentary material of this nature dating from the 1930s. In Britain television newsreels from 1948 have been kept. Until that time it is hardly likely that anyone would have thought it necessary to archive jazz performances - even if there were any. But before the 1940s had drawn to a close jazz had started to become a regular ingredient of light entertainment scheduling in the United States with the seminal series, EDDIE CONDON'S FLOOR SHOW (1948/9). The format was repeated later with such memorable series as Bobby Troup's STARS OF JAZZ (1956/8) featuring virtually every Californian jazz star of the day, TIMEX ALL STAR JAZZ SHOW (1957/9) and ART FORD'S JAZZ PARTY (1958), THE SUBJECT IS JAZZ (1958) and SWING INTO SPRING (1958/9).
The were, in addition, "specials", among them SATCHMO THE GREAT (1956), the justly famous THE SOUND OF JAZZ (1957), A DRUM IS A WOMAN and THE SOUND OF MILES DAVIS (1959). Further series soon followed: JAZZ SCENE USA (1962), FRANKLY JAZZ (1962) and JAZZ CASUAL (1962/69). Innumerable series of a similar nature have appeared in their wake. The televised history of jazz in America from the 1960s onwards is well preserved and much of it remains accessible to those who seek it out.
Although jazz is essentially an American-based musical form it has never been exclusively so. It is appreciated as much, if not more so, by audiences in Europe and in the Far East and the medium of television has reflected this. Most of the major jazz packages that regularly toured European capitals during the 1960s were seduced into the studios and recorded either on film or on tape. In Britain, BBC Television produced several series of classic programs such as JAZZ 625 (1964/6), JAZZ GOES TO COLLEGE (1966/7), JAZZ AT THE MALTINGS (1968/9) and JAZZ SCENE AT THE RONNIE SCOTT CLUB (1969/70) and so forth. With the honorable exception of the JAZZ 625 series, secured on 35mm Kinescope, many segments of the other series were lost when BBC TV wiped the tapes for re-use.
In Germany similar use was made of visiting groups for the JAZZ GEHÖRT UND GESEHEN series (1955/74). The same policy applied to television stations in Denmark, Sweden, Norway, France, Finland, Poland and also in Japan, etc., all of whom also regularly televised their local jazz and blues festivals. Berlin, Montreux, Munich, Burghausen, Baltica, North Sea, Cannes, Umbria, Bologna, Liège, Antibes/Juan-les-Pins and many others were all covered. Much is owed to the handful of producers whose enthusiasm and hard work secured such an enviable amount of valuable footage, particularly Jean-Christophe Averty, Terry Henebery, Joaquim-Ernst Berendt, Andrzej Wasylewski, Frank Cassenti, Per Møller Hansen and Jan Horne.
Jazz and those who create it have served the movies in many different guises. Only too often and for far too long, the musicians were exploited for all that they were worth. Quite enough has already been written elsewhere about the extent of their exploitation and the limitation of opportunity for black personnel working in the film industry (for instance, until the 1950s drummer Lee Young, Lester's Young's brother, was the only black staff musician in a Los Angeles film studio orchestra) but, even so, it is frightening to realize just how recently a modicum of equality has been won partly due to the courageous behind the scenes lobbying for integration and pay parity by established names such as Benny Carter and Buddy Collette - at the time there were separate union locals for (lower paid) black and for (higher paid) white musicians in the Los Angeles area. A good example of the rampant inequality was the practice at Universal Studios for white musicians in an otherwise black band to be replaced on camera by black ones and vice versa - a notorious example of this is in the short film SUGAR CHILE ROBINSON - BILLIE HOLIDAY - COUNT BASIE AND HIS SEXTET (1950) in which the white clarinetist Buddy De Franco, a key member of Basie's Sextet at the time, plays on soundtrack but is replaced on camera by the darker Marshall Royal. Quincy Jones has noted that when he composed the music for THE PAWNBROKER in 1964 he was the first black musician in the film studios permitted to score for strings; until then he would only have been allowed to write band music - much as Benny Carter and Phil Moore had done before him. And it was not until the 1960s that legendary bassist Milt Hinton was to become the first black player to be accepted fully into the tightly protected world of the New York session musician. Similar stories told, always anonymously, about the status of black instrumentalists in the Hollywood studios make one cringe. Such horrors were more prevalent in the United States, one reason why so many jazz musicians uprooted to Europe.
Today, jazz and the screen in all their manifestations are once again facing an uncertain future together as a result of constantly shifting audience tastes and with a wide range of alternative choices in both music and the visual arts - electronic experimentation, digital recording and synthesizers, video and lasers and a whole new world of computer, satellite and micro-technology cruising the information highways of the universe. They have survived successfully for over a century since before the days when man could fly or listen to the radio or before Don Ameche made that first telephone call. Ultimately, it won't matter what previously undreamed of technological achievements influence our lives as they will have combined to ensure that for many jazz scholars and enthusiasts, the music remains our religion.
Bibliography
JAZZ AU CINÉMA by Henri Gautier. Premier Plan, Belley (Ain) 1962
JAZZ IN THE MOVIES by David Meeker. British Film Institute, London 1972
JAZZ SUR FILMS by Jean-Roland. Hippenmeyer Éditions de la Thièle, Yverdon 1973
JAZZ IN THE MOVIES by David Meeker. Talisman Books, London 1977
JAZZ IN THE MOVIES by David Meeker. Talisman Books, London 1981/Da Capo Press, New York 1981
JAMMIN' IN THE MARGINS by Krin Gabbard. University of Chicago Press, Chicago 1996
JAZZ IN FILM NOIR by David Butler. University of Manchester, Manchester 2000
JAZZ ET CINÉMA by Gilles Mouëllic. Collection Essais Cahiers du Cinéma 2000
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https://open.spotify.com/playlist/37i9dQZF1DZ06evO2oOkkt
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en
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This Is Chico Hamilton Quintet
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Playlist · This Is Chico Hamilton Quintet · 50 items · 94 likes
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Spotify
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https://open.spotify.com/playlist/37i9dQZF1DZ06evO2oOkkt
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dbpedia
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http://www.thejptrio.com/
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en
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JOE POLICASTRO TRIO
|
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[] |
[] |
[
"Joe Policastro Trio",
"Joe Policastro",
"Dave Miller",
"Mikel Avery",
"jazz trio",
"guitar trio",
"bass",
"guitar",
"drums",
"jazz",
"alternative",
"Chicago",
"JeruJazz Records",
"Pops For Champagne",
"POPS!",
"West Side Story Suite",
"Screen Sounds"
] | null |
[] | null |
The Joe Policastro Trio is a Chicago-based jazz trio led by bassist Joe Policastro featuring guitarist Dave Miller and drummer Mikel Avery.
| null |
Hailed by Downbeat for its âdeft analysis of choice repertoire,â and by the Chicago Reader for its âdiversity of approaches to all kinds of source material,â the JOE POLICASTRO TRIO is a forward-thinking, Chicago-based jazz trio led by bassist Joe Policastro featuring guitarist Dave Miller and drummer Mikel Avery. While firmly rooted in jazz, the bandâs open-minded, inclusive nature draws upon a wide array of musical styles and sources while still keeping the aesthetic of an acoustic trio intact.
The band has released six albums to date: Ceremony (2023), Sounds Unheard (2022), Nothing Here Belongs (2019), Screen Sounds (2017), POPS! (2016), and West Side Story Suite (2013). Their diverse catalog captures the bandâs progressive, forward-thinking approach in sonic detail showcasing the bandâs original music alongside the trio's ability to remake unlikely songs in its own raw, highly idiosyncratic fashion.
True bands are a rarity in jazz these days, especially ones who hone their craft as consistently as this one does. For over a decade, the band held court thrice-weekly at Pops For Champagne. Beyond Chicago, the band has been extensively playing together throughout the US and Canada having even performed for President Barack Obama.
As sidemen, Joe Policastro (Pat and Debby Boone, Sheila Jordan, Phil Woods, Diane Schuur), Dave Miller (Clarice Assad, Patricia Barber, Algernon), and Mikel Avery (Joshua Abrams, Theaster Gates, Rob Mazurek) have shared the stage with a wide array of musicians but dedicate collectively to this trio. Whether highlighting the original music of its members, re-contextualizing modern music, or performing jazz classics of the likes of Thelonious Monk, Chico Hamilton, or Charles Lloyd, the trio readily displays its singular approach, sound, texture, and simultaneity.
"The trio have refined their layered blend of the familiar and faintly far out, playing three nights a week at Chicagoâs Pops For Champagne and through extensive roadwork. Their deep understanding of each other and deft analysis of choice repertoire repays repeat and close listening."
- Michael Jackson, Downbeat
Known for its eclectic taste and approach, the Joe Policastro Trio "makes the case that such musical hybridity is worth celebrating." "Policastroâ¦is a melody-minded bassist who prioritizes group cohesion over individual displays of virtuosity."
- Brian Zimmerman, Downbeat
"There are always new wrinkles to be found in the familiar. That's a political stance that seems to serve the Joe Policastro Trio wellâ¦putting alternately gritty and focused touches on songs we've come to loveâ¦.Policastro and company have found their niche tapping into different breeds of treasured songs."
- Dan Bilawsky, All About Jazz
The Joe Policastro Trio is a band that can turn "pop tart into Jazz art" (Travis Rogers, Jazz Owl) and one that "should have wide appeal among both jazz fans and listeners of other genres." (Hrayr Attarian, Chicago Jazz Magazine)
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https://residence-inn.marriott.com/
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en
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Long-Stay Hotels & Suites
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[] |
[] |
[
""
] | null |
[] |
2019-05-03T16:15:35+00:00
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Enjoy modern, flexible suites with all the comforts of home at Residence Inn. Our long-stay hotels are packed with thoughtful features to maximise your stay.
|
en
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Residence Inn
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http://https%3A%2F%2Fresidence-inn.marriott.com%2F
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Explore the possibilities
What you need,
When you need it.
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877
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https://www.organissimo.org/forum/topic/46054-pacific-jazz-world-pacific-labelography/
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en
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Pacific Jazz / World Pacific labelography
|
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] |
[] |
[] |
[
""
] | null |
[
"Daniel A"
] |
2008-09-02T20:06:55+00:00
|
The Pacific Jazz discography found here mentions three basic label designs. The first Pacific Jazz label was black with silver print and logo. "Pacific Jazz" on two lines above the center hole. This label was used from the start of the label to 1957 when the name of the label was changed to World...
|
en
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https://www.organissimo.org/forum/uploads/monthly_2015_12/favicon.ico.70e56b0754417916339b560f6c18d111.ico
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organissimo forums
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https://www.organissimo.org/forum/topic/46054-pacific-jazz-world-pacific-labelography/
| |||||
877
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dbpedia
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0
| 68
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https://www.artsjournal.com/jazzbeyondjazz/2017/02/spring-break-with-budapest-jazz-photos.html
|
en
|
Spring break with Budapest jazz, photos
|
http://www.artsjournal.com/jazzbeyondjazz/wp/wp-content/uploads/2017/02/20170203_JSC_Jazzonance_c_Posztos_Janos_Mupa_002.jpg
|
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] |
[] |
[
""
] | null |
[] |
2017-02-21T19:52:00+00:00
|
I went to Budapest for spring break — to introduce a photo exhibit by my Transylvanian-born friend  Sánta István Csaba and help jury the 10th annual Müpa Budapest Jazz Showcase/Talent E…
|
en
|
Jazz Beyond Jazz
|
https://www.artsjournal.com/jazzbeyondjazz/2017/02/spring-break-with-budapest-jazz-photos.html
|
I went to Budapest for spring break — to introduce a photo exhibit by my Transylvanian-born friend  Sánta István Csaba and help jury the 10th annual Müpa Budapest Jazz Showcase/Talent Exchange, held in the modernist musem and multi-theater complex on the east bank of the icy Danube Feb 3 – 5.
As I wrote in my  DownBeat article, the sound of the 12 sets I heard was jazz as we think of it now — virtuosic horns, piano/keyboards and/or guitar, upright or electric basses and drums; vocalists singing standards, spicing up r&b grooves, toying with electronics; popular rhythms addressed through personal perspectives.
There was a faint aura of the music of the Roma — gypsies — in the air, emanating not only from the quartets led by pianist Gyula Balogh and drummer Toni Snétberger, with members from that community. It was hard to define — no overt Django Reinhardt, figurations or repertoire, but a tinge of darkness and interiority in those bands, and what I imagined was witchy wailing by singer Petra Kész with her performance art-like trio Cymbal Rush (video of that show below).
Still, as in the Saturday night jam session at the Budapest Jazz Club – a very cool hangout which advertised Jeff “Tain” Watts, Joe Lovano and Steve Coleman as coming attractions supplementing local groups, the vibe was familiar from my travels in Armenia, the Azores, Berlin, Cuba, Denmark, Gambia, Italy, St. Petersberg, Tampere, Trinidad, Ukraine as well as the States. Whatever a community’s resources, there are commonalities in the jazz world everywhere, this capital of Central Europe most definitely included.
The singing in English, allusions to Monk (as I took the approach of alto saxophonist Gábor Baris’s Version), reverence for Coltrane (especially by alto/soprano saxist Tamás Ludányi) and interest in Herbie Hancock bleeding over to pop stars such as J Dilla (by drummer David Hodek, grooving with American pianist Paul Cornish and bassist Joshua Crumbly) and Betty Wright (smoldering singer Janka Vörös’ finale), with Santa’s 2.5 x 2 meter closeups of U.S. jazz masters on the walls  –“Jazzonance” was Müpa’s exhibit title  — and companionable journo/jurists from Sofia, Slovenia, London, plus Budapest-based freelancer Kornél Zipernovszky and the generously great Hungarian guitarist Gyula Babos – let me feel almost at home, while refreshed by particular differences.
Such as the architecture — 19th and 20th century glories, variously preserved, restored or abandoned. Proud museums, palaces and six-story apartment buildings with ground-floor retail shops and cafés, on concentric circular boulevards. The Gellert Hill Cave, thermal baths and church in St. Ivan’s grottos. Trams running up each side of the river, the Danube’s bridges rebuilt since Nazi destruction in WWII. The old market, stalls hung with paprika-colored sausages, an instructive display of wild mushrooms tucked in a corner.  The Castle District of hilly Buda, overlooking the plain of Pest.
All contrasting with but complementary to the Jazz Showcase/Talent Exchange (wherein some of the Hungarians travel to perform at London’s 606 Club, and others are booked into events via the Hungarian Jazz Federation, part of the European Jazz Network). Müpa’s decade-old program struck me as an effort rooted in an artistically sophisticated city, one cognizant of its complex, conflicted past and evidently eager to thrive in the present, the better for whatever’s to come.
As usual, creative music with drive and feeling seems to well up as a significant if not essential ingredient in a culture, with such ambitions embraced towards those very ends. The basics of individual expression amid group collaborations performed for the entertainment and enlightenment of general audiences have been well established here. The integration of attractive, useful ideas coming from myriad sources is, at least superficially, high. I had just a quick visit, and no doubt experienced a mere slip of what’s happening in Budapest. But I liked what I heard and saw.
howardmandel.com
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Howard Roberts As Sideman
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Bobby Troup and Howard Roberts (photo taken from a 1960 Gibson catalogue but probably taken much earlier)
Recordings With Howard Roberts As Sideman, 1950-1959
Jazz Superstars: Jam Session Record No. 101
1952 - Jam Session JS-101.
Selections: Lady Bird, Out of Nowhere, Keen and Peachy, Donna Lee.
Personnel: tenor - Wardell Gray, trumpet - Art Farmer, piano - Amos Trile (first two), Hampton Hawes (last two), bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: Recorded live Sept. 9, 1952 at the Haig in L.A.
Comments: Nice recording, H.R. plays great. Thanks to Bill Hunter for this.
Jazz Superstars: Jam Session Record No. 102
1952 - Jam Session JS-102.
Selections: Tiny's Blues, I Cover the Waterfront/I'm in the Mood for Love, Out of Nowhere, Our Delight, Lullaby of the Leaves, Blues.
Personnel: On Tiny's Blues, I Cover the Waterfront and I'm in the Mood for Love: tenor sax - Gerry Mulligan, Dave Pell, trumpet - Ted Ottison, piano - Paul Smith, bass - Joe Mondragon, drums - Bill Wilson. On the remaining tracks: baritone sax - Gerry Mulligan, piano - Jimmy Rowles, bass - Joe Mondragon, drums - Tommy Rundell, guitar - Howard Roberts.
Session: Recorded live May 27, 1952 at the Haig in L.A.
Comments: H.R. solos only on Our Delight. The recording is not of high fidelity and he is under-recorded relative to the other instruments. He plays well but with with a fairly distorted tone. Probably the amp had to be turned up to be heard. As far as I know, this is H.R.'s first recording. Thanks to Gérard Dugelay of Metz, France for this.
Wardell Gray Quintet - Live at The Haig 1952
1952 - Fresh Sound Records, FSR-CD 157 - 1991 reissue.
Selections: Bernie's Tune (B. Miller), The Squirrel (T. Dameron), Pennies From Heaven (Johnston-Burke), Donna Lee (C. Parker), Taking A Chance On Love (Duke-Latouche), Jackie (H. Hawes), Get Happy (Arlen-Koehler), Keen And Peachy (S. Rogers), Lady Bird (T. Dameron).
Personnel: tenor sax - Wardell Gray, trumpet - Art Farmer, piano - Hampton Hawes, Amos Trice, bass - Joe Mondragon, drums - Shelly Manne, guitar - Howard Roberts.
Session: September 9, 1952 at the Haig in L.A.
Comments: H.R. is on the last two tracks only. H.R. plays with a somewhat distorted tone very unlike what he later developed. These selections also appear on Out of Nowhere - the Wardell Gray Sextet, Straight Ahead Jazz, SAJ-1003.
Bobby Troup
1953 - Capitol T484H484.
Selections: Chicago (Fisher), Hungry Man (Troup), I Can't Get Started (Duke-Gershwin), Where You At (Segel-Handy), My Blue Heaven (Donaldson-Whiting), The Three Bears (Troup), Dinah (Akst-Lewis-Young), Lemon Twist (Troup), 'Deed I Do (Rose-Hirsch), The Girl Friend (Rodgers-Hart), You're Looking at Me (Troup), Five Days, Six Hours and Thirteen Minutes (Springer-Hirsch).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Harry Babasin, drums - Don Heath, trombone - Bob Enevoldsen, Newcomb Rath, Jack Dulong, Bill McDougal, baritone sax, Don Davison.
Session: Los Angeles, August 1953.
Comments: The first 8 tunes were first issued on a 10" lp Capitol H484. Some nice guitar on The Girl Friend and 5 Days, 6 Hours and 13 Minutes. The album cover (this is the cover of the 10") has some pictures of the trio in action. You can make out H.R. in some of these.
June Christy - Something Cool
1954 - Capitol, reissued on CD in 1991, CDP 7 96329.
Selections with H.R.: Lonely House (Weill-Hughes), I Should Care (Weston-Stordahl-Cahn), It Could Happen To You (van Heusen-Burke),The First Thing You Know, You're In Love (Torme), A Stranger Called the Blues (Torme-Wells), I'll Take Romance (Oaksland-Hammerstein II), Look Out Up There (Raskin-Rugolo), Softly As In a Morning Sunrise (Romberg-Camacho-Hammerstein II), Out of Somewhere (Unknown), Love Doesn't Live Here Any More (Unknown).
Personnel: Pete Rugolo's Orchestra, arranger and conductor - Pete Rugolo, trumpet - Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Milt Bernhart, Harry Betts, Tommy Pederson, alto sax - Harry Klee, Bud Shank, tenor sax - Bob Cooper, Ted Nash, Baritone sax - Chuck Gentry, piano - Russ Freeman, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne.
Session: L.A. January 18, 19, 1954.
Comments: Mainly just comping but some nice guitar on I'll Take Romance.
Bob Cooper Sextet - Group Activity
1954 - Capitol reissued on Affinity together with Bill Holman Octet, Aff 65.
Selections with H.R.: The Way You Look Tonight (Kern-Fields), Polka Dots and Moonbeams (van Heusen-Burke), Solo Plight (Cooper), Lisbon Lady (Cooper), She Didn't Say Yes(Kern-Harbuch), When the Sun Comes Out (Arlen-Koehler), Excursion (Cooper).
Personnel: tenor sax - Bob Cooper, piano - Claude Williamson bass - Joe Mondragon, Curtis Counce, drums - Shelly Manne, Stan Levy, guitar - Howard Roberts.
Session: Hollywood, May 14 and July 30, 1954.
Comments: Excellent album and wonderful guitar.
Jazz Studio Two
1954 - Jasmine JASM 1029.
Selections: Laura (Raskin-Mercer), Here Come The Lions (Graas), Paicheck (Paich), Graas Point (Graas), Darn That Dream (Van Heusen-Delange), Do It Again (Gershwin).
Personnel : guitar - Howard Roberts, tenor saxophone - Jimmy Giuffre, piano - Marty Paich, trumpet - Don Fagerquist, trombone - Milt Bernhart, french horn - John Graas, alto saxophone - Herb Geller, bass - Curtis Counce, drums - Larry Bunker.
Session : L.A. June 4, 1954.
Comments: Beautiful guitar on this. It should be reissued. Here is a picture of the musicians from the album cover with H.R. in the back row. Many thanks to Dave Gould for this. Dave has an extensive collection of jazz guitar recordings. Dave has published discographies titled "Wes Montgomery on CD" and "Django Reinhardt on CD".
Bob Enevoldsen Quintet
1954 - Nocturne NLP6. Jazz in Hollywood Series.
Selections: Fast Buck (M. Paich), My Old Flame (A. Johnston-S. Coslow), Danza To Brasil (M. Paich), Lulu's Back In Town (H. Warren-A. Dubin), Bob White (J. Mercer-B. Hanighen), Where Did The Gentleman Go? (B. Troup), Snootie Little Cutie (B. Troup).
Personnel : trombone - Bob Enevoldsen, guitar - Howard Roberts, piano - Marty Paich, bass - Harry Babasin, drums - Don Heath.
Session: Western Recorders, Hollywood, July 14 and 18, 1954.
Comments: Great playing by Howard Roberts on this. This is part of a recently released (March, 1998) 3 CD set from Fresh Sound called "The Complete Nocturne Recordings, Jazz in Hollywood Series - Volume 1". Other albums included are by Bud Shank, Herbie Harper, Harry Babasin, Lou Levy, Jimmy Rowles and Virgil Gonsalves. Excellent set with great documentation and photos. Here is a picture of H.R. from this session.
Introducing Pete Rugolo
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: That Old Black Magic (Mercer-Arlen), Early Stan (Rugolo), Bazaar (Khatchaturian: arr. Rugolo), California Melodies (Rose), You Stepped Out of a Dream (Kahn-Brown), 360 Special (Rugolo), Laura (Mercer-Raksin), Come Back Little Rocket (Rugolo), In the Shade of the Old Apple Tree (Williams-Van Alstyne), Sidewalks of New York Mambo (arr. Rugolo), Theme from the Lombardo Ending (Rugolo), Manana (Lee-Barbour).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, Shorty Rogers, trombone - Harry Betts, Milt Bernhart, John Haliburton, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, John Graas, Joe Eger , Bill Hinshaw tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 8, 1954.
Adventures In Rhythm - Pete Rugolo and his Orchestra
1954 - Col 40194 reissued on the CD, Pete Rugolo and his Orchestra, Sony #A-28821.
Selections: Here's Pete (Rugolo), My Funny Valentine (Hart-Rodgers), Mixin' The Blues (Rugolo), Poinciana (Bernier-Simon), Rugolo Meets Shearing (Lunham-Saunders-Rugolo), Sambamba (Baxter), King Porter Stomp (Morton), You Are Too Beautiful (Hart-Rodgers), Jingle Bells Mambo (Rugolo), The Will Never Be Another You (Gordon-Warren), Conversation (Ferrer), Good Evening Friends Boogie (Rugolo).
Personnel : arranger - Pete Rugolo, trumpet - Pete Candoli, Maynard Ferguson, Buddy Childers, Shorty Rogers, Don Paladino, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, french horn - Fred Fox, Bill Hinshaw, John Cave tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, Ethmer Roten, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison.
Session: L.A. Feb. 22, April 29, May 10, June 21 1954.
Leonard Feather Presents: Best from the West - Volume 1
1954 - Blue Note BLP5059 - reissued by Fresh Sound.
Selections: Santa Anita (M. Rogers), Santa Monica (B. Collette), The Blindfold Test No. 1 (M. Rogers), Culver City (M. Rogers), The Blindfold test No. 2 (M. Rogers), Hooray for Hollywood (Whiting-Mercer).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Santa Monica (nice solo) and The Blindfold Test No. 2.
Leonard Feather Presents: Best from the West - Volume 2
1954 - Blue Note BLP5060 - reissued by Fresh Sound.
Selections: Van Nuys Indeed (J. Graas), Here's Pete (P. Rugolo), The Blindfold Test No. 3 (M. Rogers), Burbank Bounce (M. Rogers), Arcadia (M. Rogers), No Love, No Nothing (Warren-Robin).
Personnel: trumpet - Harry Edison, Conte Candoli, alto sax - Herb Walsh (Geller), Charlie Mariano, Buddy Collette, trombone - Bob Enevoldsen, piano - Lorraine Geller, Marty Paich, Gerry Wiggins, bass - Joe Mondragon, Monty Budwig, Curtis Counce, drums - Larry Bunker, Stan Levey, french horn - John Graas, tenor, baritone sax and clarinet - Jimmy Giuffre, guitar - Howard Roberts.
Session: L.A., Dec. 31, 1954.
Comments: H.R. is on Here's Pete and No Love, No Nothing. Beautiful solo on the latter. It seems these two albums were initially issued as "a musical blindfold test"; i.e. the listener had to guess who the players were.
Terry Pollard
1955 - Bethlehem BCP-1015 and reissued by Toshiba EMI as TOJJ-1015 in 10" format in 2000.
Selections: Fedi (Pollard), Laura (Raskin), Where Or When (Rodgers-Hart), Autumn Serenade (DeRose-Gillespie), Scrapple From The Apple (Parker), Emaline (Little-McHugh), The More I See You (Warren-Gordon), Almost Like Being In Love (Loewe-Lerner).
Personnel: trumpet - Don Fagerquist, piano - Terry Pollard, guitar - Howard Roberts, bass - Herman Wright, drums- Frank DiVito.
Session: L.A., January 10, 1955.
Comments: Excellent recording with some fine contributions from H.R.
Tommy Traynor/ Peggy Connelly Sings
1955? - Nocturne Records reissued on Fresh Sound FSR-607.
Selections with H.R.: Married An Angel (Rodgers-Hart), Neath The Willow Tree (Ray Gilbert), Livin' With Love (Ray Gilbert), Am I Blue (Harry Akst-Grant Clarke).
Personnel : piano - Arnold Ross, guitar - Howard Roberts, bass - Harry Babasin.
Session:
Comments: It seems this recording lead to the founding of Nocturne Records (according to the liner notes). H.R. plays on the Tommy Traynor selections and makes some nice contributions. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Rugolomania - Pete Rugolo And His Orchestra With The Rugolettes
1955 Columbia CL 689.
Selections : Gone With The Wind, In A Sentimental Mood, Bobbin' With Bob, 4:20 A.M., Little White Lies, Me Next, Bongo Dance, Intermezzo, Montevideo, I've Had My Moments, Everything I Have Is Yours, Hornorama.
Personnel : arranger - Pete Rugolo, trumpet - Maynard Ferguson, Buddy Childers, Shorty Rogers, Uan Rasey, trombone - Harry Betts, Milt Bernhart, Herbie Harper, Bob Fitzpatrick, French horn - Vince DeRosa, John Graas, tuba - Paul Sarmento, alto sax - Bud Shank, Harry Klee, tenor sax - Bob Cooper, Jimmy Giuffre, baritone sax - Bob Gordon, piano - Claude Williamson, guitar - Howard Roberts, bass - Harry Babasin, drums - Shelly Manne, percussion - Bernie Mattison Jack Costanzo.
Session: Los Angeles, May 10, Oct. 11 1954, Feb. 22, 23 1955.
Comments: Many good guitar contributions on this. The Rugolettes were a subgroup of the orchestra. I believe Milt Bernhart, John Graas, Paul Sarmento, Bud Shank, Bob Cooper, Howard Roberts, Harry Babasin, Shelly Manne and Pete Rugolo comprised The Rugolettes. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
New Sounds by Pete Rugolo
1955 Harmony HL7003.
Selections : Shave And A Haircut, Latin Nocturne, Conversation (The Shrike) (Ferrer), Poinciana (Bernier-Simon), Manhattan Mambo, Quiet Village, When Your Lover Has Gone, When You're Smiling, Come Back Little Rocket (Rugolo), You Stepped Out Of A Dream (Kahn-Brown).
Personnel: Various from Introducing Pete Rugolo, Adventures In Rhythm and Rugolomania.
Session: L.A. Feb. 8, 22, April 29, May 10, June 21, July 8, Oct. 11 1954 and Feb. 22, 23 1955.
Comments: Unmistakable H.R. on When You're Smiling. Beautiful! Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Jazz Studio 3 - John Graas
1955 - Decca DL 8104
Selections: Mulliganesque (Graas), My Buddy (Kahn-Donaldson), 6/4 And Even (Graas), Charleston (Mack-Johnson), Rogeresque (Graas), Jazz Selections from "Symphony No. 1 In F Minor) (Graas), 12th Street Rag (Razaf-Bowman).
Personnel : trumpet - Don Fagerquist, Conte Candoli, french horn - John Graas, alto sax - Charlie Mariano, tenor sax - Zoot Sims, baritone sax - Gerry Mulligan, Jimmy Giuffre, piano - Andre Previn, Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, Curtis Counce, drums - Larry Bunker.
Session: L.A. Dec. 16, 1954 and Jan. 6, 1955.
Comments A great album with lots of contributions from H.R. Many thanks to Ron Benson (designer of the Benson amplifier) for this.
John Graas - Jazz Lab-1
1955 Decca DL 8343.
Selections: Minor Call (John Graas-George Liberace), Mozartesque (John Graas), Le Chasse (Ed Loe), Friar Tuck (John Graas), Canaon Ball (John Graas), Pick Yourself Up (Jerome Kern), Andante (John Graas), Allegretto (John Graas), Softly the Horn Blows (Shorty Rogers), Lighthouse 6/4 (John Graas).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave pell, alto - Bert Herbert, Ronnie Lang, drums - Larry Bunker, trumpet - Don Fagerquist, piano - Claude Williamson, Marty Paich, vibes - Red Norvo, clarinet - Jimmy Giuffre, trombone - Bob Enevoldsen.
Session: L.A., Nov. 28, 1955.
Comments : Great record with lots of guitar. Similar in content to Jazz Studio Two as both seem to be experiments in giving jazz a somewhat "classical" feel and context.
John Graas - Jazz Lab-2
1955 Decca DL 8478.
Selections with H.R.: Be My Guest (Shorty Rogers).
Personnel: french horn - John Graas, guitar - Howard Roberts, bass - Curtis Counce, tenor - Dave Pell, alto - Bert Herbert, drums - Larry Bunker, trumpet - Don Fagerquist, vibes - Red Norvo, clarinet - Jimmy Giuffre.
Session: L.A., Nov. 28, 1955.
Comments : No guitar to speak of on this one track but the album is generally quite good.
World's Greatest Jazz Jam Session featuring Jack Millman
1955 - reissued on Stack-O-Hits Records in 1981.
Selections with H.R.: Just a Pretty Tune (J. Millman), Pink Lady (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, piano - Claude Williamson, tenor - Jimmy Giuffre, alto - Herb Geller, baritone sax - Bob Gordon, valve trombone - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongas - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments : An album of compositions by Jack Millman. H.R. plays a short solo on Pink Lady. These selections also appeared on the CD Jack Millman and the Hollywood All Stars Vol. #1. Many thanks to Ed Barr of Valdosta State University for this. The selections on the album seemed to have been issued on many different recordings. Lord lists two more selections from this recording session; namely Groove Juice and Bolero de Mendez, but also gives information that contradicts that given on the album and what I hear. See entry on Jack Millman and his Allstars on Fresh Sound below as well.
Jack Millman and his Allstars
1955 - Fresh Sound FSR-CD.
Selections with H.R.: Pink Lady (Jack Millman), Bolero de Mendez (Jack Millman).
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, bass - Red Mitchell, tenor - Jimmy Giuffre, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, trumpet - Don Fagerquist, vibes - Red Norvo, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: June, 1 1955, L.A.
Comments: Groove Juice, Pink Lady, Bolero de Mendez and Just a Pretty Tune also appear on Jazz Studio Four, Decca DL8156. Groove Juice and Pink Lady also appear on the CD, Jack Millman All Stars - Shades of Things to Come, Progressive Records PCD-7098, 2002, where H.R. is listed (inappropriately) as playing on Groove Juice but not Pink Lady.
Jazz Reflections: Jack Millman's All Star Jazz Orchestra
195? - reissued as Tootsie Records AW 14307 in 1979
Selections: (All compositions by Jack Millman) Going South, Baja, Two Suites For Love, Subtle Hype, Easy Groove, Allright, On The Up Side, Cool School, View From The Top, Down Home.
Personnel: fluegelhorn - Jack Millman, guitar - Howard Roberts, Barney Kessel, Dan Overburg, bass - Curtis Counce, Red Mitchell, tenor - Jimmy Giuffre, Jack Montrose, alto - Herb Geller, flute - Buddy Collette, baritone sax - Bob Gordon, claves - Bob Enevoldsen, drums - Shelley Manne, Chico Hamilton, trumpet - Don Fagerquist, Maynard Ferguson, vibes - Red Norvo, piano - Claude Williamson, Gerald Wiggins, bongos - Mike Pacheco, congas - Jack Costanzo.
Session: Probably 1955, L.A.
Comments: Nice album. The guitar solo on Subtle Hype sounds like H.R.
Frank Morgan
1955 - GNPD 9041.
Selections: Bernie's Tune (B. Miller), My Old Flame (Coslow-Johnson), I'll Remember April (Raye-DePaul-Johnson), Neil's Blues (Morgan), The Champ (Gillespie), Chooch (Morgan), The Nearness of You (Carmichael-Washington), Whippet (Morgan), Milt's Tune (Jackson), Get Happy (Arlen-Koehler), Crescendo Blues (J. Sheldon), "Huh", Autumn Leaves (Kozma-Mercer-Prevert), Well You Needn't (T. Monk), B.T. (B. Timmons).
Personnel : alto sax - Frank Morgan, tenor sax - Wardell Gray, James Clay, organ - Wild Bill Davis, trumpet - Conti Candoli, Jack Sheldon, guitar - Howard Roberts, piano - Carl Perkins, Bobby Timmons, bass - Leroy Vinnegar, drums - Lawrence Marable.
Comments : Good guitar work on a couple of tracks and in particular on The Nearness of You. Here is a great photo , from the collection of Ray Avery, that could be from this recording session.
Helen Carr - Why Do I Love You
1955 - Bethlehem BCP45.
Selections: Then You've Never Been Blue (Lewis-Young-Fiorito), Summer Night (Dubin-Warren), Got a Date With An Angel (Tunbridge-Waller-Grey-Miller), Why Do I Love You (Kern-Hammerstein II), Do I Worry (Cowan-Worth), I'Ve Got A Feelin' You're Foolin' (Freed-Brown), Be Careful It's My Heart (Berlin), My Kind of Trouble Is You, Lonely Street (Villepegue-Carr), Symphony (Alstone-LAwrence), You're getting To Be A Habit With Me (Dubin-Warren), Bye Bye Baby (Robin-Styne).
Personnel : vocal - Helen Carr, guitar - Howard Roberts, bass - Red Mitchell, trumpet - Cappy Lewis.
Session : Nov. 11, 1955.
Comments : Interesting format with only guitar for harmonic support and no drums. As usual H.R. plays amazingly well. This together with the Julie London album prove he was a master of this genre. This album was reissued with some additional material on the CD Helen Carr The Complete Bethlehem Collection.
Pete Jolly Trio and Sextet - Jolly Jumps In
1955 - reissued On RCA/Spain 74321125822.
Selections with H.R.: Jolly Jumps In (Giuffre), Pete's Meat (S. Rogers), Why Do I Love You? (Kern-Hammerstein), I Get A Kick Out Of You (Porter).
Personnel : accordion - Pete Jolly, guitar - Howard Roberts, bass - Curtis Counce, trumpet - Shorty Rogers, baritone saxophone - Jimmy Giuffre, drums - Shelly Manne, bass - Curtis Counce.
Session : March 6, 1955.
Comments : Pete Jolly on accordion! There are some trio sessions on this as well where Pete Jolly plays piano. Some nice guitar but not too much. Noteworthy is a fine solo on I Get A Kick Out Of You - see Music for another great H.R. solo on this song.
Pete Jolly Quartet - Hyacinth
1956 - reissued on various compilations.
Personnel: accordian - Pete Jolly, guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neal.
Session: ABC Studios, Hollywood, June 3, 1956.
Comments: This tune has been released on several Pete Jolly compliations and is available on iTunes.
Bobby Troup Plays Johnny Mercer
1955 - Bethlehem - released on Affinity in 1987.
Selections: Jamboree Jones (Mercer), Midnight Sun (Hampton-Burke-Mercer), Come Rain Or Come Shine (Arlen-Mercer), Laura (Raskin-Mercer), That Old Black Magic (Arlen-Mercer), One For My Baby (Arlen-Mercer), Cuckoo In The Clock (Donaldson-Mercer), Day In, Day Out (Bloom-Mercer), Jeepers, Creepers (Warren-Mercer), (Love's Got Me In A) Lazy Mood (Miller-Mercer), Skylark (Carmichael-Mercer), I'm With You (Troup-Mercer).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Red Mitchell, drums - Don Heath, trombone - Bob Enevoldsen.
Session: Los Angeles, January 28, 1955.
Comments: Bobby Troup's vocals are an acquired taste but I've grown to like them. The guitar playing on this and the next two Bobby Troup recordings is outstanding! This has been reissued on CD West Side WESA 854.
The Distinctive Style of Bobby Troup
1955 - Bethlehem BCP-35
Selections: Mountain Greenery (Rodgers-Hart), It Still Suits Me (Hammerstein-Kern), Little Girl Blue (Rodgers-Hart), Manhattan (Rodgers-Hart), You Are Too Beautiful (Rodgers-Hart), They Can't Take That Away From Me (I. Gershwin-G. Gershwin), I've Got My Love To Keep Me Warm (Berlin), Gypsy In My Soul (Jaffe-Boland), The Boy Next Door (Martin-Blane), Love Is Here To Stay (I. Gershwin-G. Gershwin), Have You Met Miss Jones (Rodgers-Hart), The Lady Is A Tramp (Rodgers-Hart).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Hollywood, August, 1955.
Comments: Thanks to Bill Harter for this. Fabulous guitar especially on Have You Met Miss Jones! This has been reissued on CD West Side WESA 855.
Bobby Troup and his trio
1955 - Liberty LRP 3002.
Selections: Thou Swell (Rodgers-Hart), I've Got A Crush On You (Gershwin), Old Devil Moon (Harburg-Lane), That's All (Haymes), The Hucklebuck (Alfred-Gibson), Yes Sir, Thats My Baby (Kahn-Donaldson) , I Get A Kick Out Of You Porter), My Funny Valentine (Rodgers-Hart), They Didn't Believe Me (Kern), Dream Of You (Lunceford-Oliver-Moran), I've Got You Under My Skin (Porter), Let's Get Away From It All (Dennis).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Celebrity Room, Hollywood, 1955.
Comments: Thanks to Bill Harter for this. Recorded at the Celebrity Room in Hollywood, CA. Great guitar playing.
Bobby Troup - The Feeling of Jazz
1955 - a number of performances from the 50's and 60's released on the Starline CD SLCD-9009 in 1994.
Selections with H.R.: Midnight Sun (Burke-Hampton-Mercer), Lullaby of Birdland (Shearing-Weiss), I Get a Kick Out of You (Porter), Daddy (Troup), Moonlight in Vermont (Blackburn-Suessdorf), The Three Bears (Troup), Route 66 (Troup), That Old Black Magic (Arlen-Mercer), There She Goes (Troup), Learnin' the Blues (Silvers).
Personnel: piano and vocal - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , drums - Don Heath.
Session: Recorded on 9/17/55, 9/24/55 and 10/1/55 at the Bacchante Room, Huntington-Sheraton Hotel, Pasadena, CA.
Comments: Excellent CD generally and H.R.'s playing is wonderful. The CD also has selections with Herb Ellis, John Collins and Bucky Pizzarelli.
Bethlehem's Girlfriends - Julie London, Carmen McRae, Chris Connor
1955 - Bethlehem BCP 6006.
Selections with H.R.: A Foggy Day (Gershwins), Don't Worry About Me (Koehler-Bloom), Sometimes I Feel Like A Motherless Child (P.D.), You're Blase (Hamilton-Siever).
Personnel: vocal - Julie London, piano - Bobby Troup, guitar - Howard Roberts, bass - Bob Enevoldsen , flute - Buddy Collette and others unlisted.
Session: Estimated to be 1955 sometime.
Comments: Compilation album and excellent. Supposedly these are Julie London's first recordings predating the Julie Is Her Name albums. Some excellent music on the entire album and some nice contributions from H.R. Here is link to a Julie London website.
The Chico Hamilton Trio
1955 - Pacific Jazz 10" recording. Album front and back with a nice picture of Howard Roberts.
Selections: Broadway (Wood-Macrea-Boyd), What Is There To Say, Street of Drums (C. Hamilton), Nuttye (J. Cheatham), Buddy Boo, We'll Be Together Again (Fisher-Laine), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Chico Hamilton.
Session: Hollywood, December 6, 1953 and Los Angeles, October 2, 1954.
Comments : Excellent record. This recording led to H.R. winning a down beat Guitar - New Star award in The Third Annual Jazz Critics Poll in 1955 ( The Critics Choices, down beat, Aug. 24, 1955, p.10 ). This recording together with some recordings made with Jim Hall in 1956 have been released on CD Fresh Sound FSR-CD 471 in 2007. This recording is discussed in the book Bassically Speaking: An Oral History of George Duvivier, by Edward Berger, Studies in Jazz No. 17, Institute of Jazz Studies, Rutgers, 1993. On page 169 Duvivier is quoted as saying
"That same year 1956, I did a very challenging recording with Chico Hamilton. We were both working with Lena Horne in Los Angeles when Dick Bock of Pacific Jazz approached us to a trio album with Jim Hall. ... Chico and I both wrote some originals and Jimmy Cheatham, the trombonist brought in a thing of his called Nuttye. We concentrated on making each track completely different. The guitar parts were awesome. Howard Roberts, who subbed for Jim Hall in places, came in and sight-read those things!"
Although, Duvivier (who organized the session together with Chico Hamilton) indicated that it was supposed to be a session with Jim Hall, there is no explanation for how tracks made with H.R. in 1953 wound up on the record. (Many thanks to Mike Kremer and to Adrian Pellew for helping to straighten out some details.)
The Chico Hamilton Trio
1956 - Pacific Jazz.
Selections: Blues On the Rocks (G. Duvivier), Street of Drums (C. Hamilton), We'll Be Together Again (Fisher-Laine), Skinned Strings (Hamilton-Duvivier), Nuttye (J. Cheatham), Porch Light (G, Duvivier), Broadway (Wood-Macrea-Boyd), Autumn Landscape (G. Duvivier), Uganda (Hamilton-Duvivier), Lollypop (Wiggins-Hamilton).
Personnel: guitar - Howard Roberts and Jim Hall, bass - George Duvivier, drums - Chico Hamilton.
Comments : This is a reissue of most of the material on the above 10" recording together with some additional cuts featuring Jim Hall. In particular, Jim Hall is on Blues On The Rocks, Autumn Landscape, and Porch Light and neither guitarist plays on Skinned Strings. Many thanks to Dave Gould for this (see above under Jazz Studio Two) and to Mike Kremer and Adrain Pellew for helping me sort out who played on what.
3 Roads to Jazz
1956 American Recording Atrists ALP-100.
Selections: Top O' the Mark (Jerry Vaughn).
Personnel: leader - Jerry Vaughn, accordion - Marty Paich, alto sax - Herb Geller, drums - Chico Hamilton, guitar - Howard Roberts, bass - Bob Enevoldsen.
Session: L.A., January, 1956.
Comments: H.R. as a part of the Jerry Vaughn Quintet doing one song. Tommy Tedesco is the guitarist on the remaining tunes on the record by this group. Nice solo by H.R. Also included on the recording are selections by Zep Meissner's Dixieland Allstars and Van Alexander and the Mills Blue Rhythm Band.
Pete Rugolo: Music For Hi-Fi Bugs
1956 - Emarcy Mg-36082.
Selections: For Hi-Fi Bugs (P. Rugolo), Once In A While (B. Green-M. Edwards), Fawncy Meeting You (N. Hefti), These Foolish Things (Holt-Marvell-Link-Stackney), Later Team (P. Rugolo), Oscar and Pete's Blues (O. Peterson-P. Rugolo), Dream Of You (S. Oliver), Snowfall (C. Thornhill).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: Nice chord solo on These Foolish Things. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Out On A Limb.
Out On A Limb - Pete Rugolo and His All-Stars
1956 - Emarcy MG 36115.
Selections with H.R.: Don't Play the Melody (Rugolo), In A Modal Tone (Rugolo), Early Duke (Rugolo), The Boy Next Door (R. Blane-H. Martin), Cha-Lito Linda (Rugolo), Smoke Gets In Your Eyes (J. Kern-O. Harbach).
Personnel: arranger - Pete Rugolo, trumpet - Buddy Childers Don Paladino, Maynard Ferguson, Pete Candoli, Don Fagerquist, trombone - Frank Rosolino, Milt Bernhart, Herbie Harper, George Roberts, french horn - John cave, Vince Cave, Vince De Rosa, tuba - Clarence Karella, saxes - Ronnie Lang, Harry Klee,Ddave Pell, Gene Cipriano, Chuck Gentry, piano - Russ freemna, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, vibes and percusion - Larry Bunker.
Session: L.A., July 9 and 10, 1956.
Comments: H.R. is featured on The Boy Next Door. There are four more unlisted tracks where Barney Kessel replaces H.R. Some songs also issued on Rhythm Meets Rugolo, Mercury MG 36115 and Music From Out Of Space, Mercury SR 60118, both of which also contain tracks from Music For Hi-Fi Bugs..
Pete Rugolo: An Adventure In Sound - Brass
1956 Mercury SR60044.
Selections with H.R.: Can't We Talk It Over (N. Washigton-V. Young).
Personnel: trumpet - Don Palladino, Ray Linn, Pete Candoli, Maynard Ferguson, guitar - Howard Roberts, bass - Joe Mondragon, drums - Shelly Manne, piano - Russ Freeman.
Session: Los Angeles, July 10, 1955.
Comments: Some nice guitar work on this. Barney Kessel is on the remaining tracks. This track also appears on Maynard Ferguson - Jazz Masters 52.
Corky Hale Plays Gershwin and Duke
1956 - GNP - Crescendo GNP9035.
Selections: A Foggy Day (G. and I. Gershwin), Soon (G. and I. Gershwin), What Is There To Say (Duke-Harburg), There's An Island In The West Indies (Duke), I Can't Get Started (Duke-Gershwin), Autumn In New York (Duke), Somebody Loves Me (Gershwin-DeSylva-McDonald), But Not For Me (G. and I. Gershwin), Taking A Chance On Love (Duke-Latouche), April In Paris (Harburg-Duke), Cabin In The Sky (Duke-Latouche), London In July (Duke-Cahn).
Personnel: harp, piano and flute - Corky Hale, guitar - Howard Roberts, bass - Red Mitchell, Bob Enevoldsen, drums - Chico Hamilton, Don Heath, flute and tenor - Buddy Colette, vibes - Larry Bunker.
Session : L.A., 1956.
Comments : Nice album with lots of guitar.
Jazz For Relaxation - Marty Paich
1956 - Tampa - released in 1995 on V.S.O.P.
Selections: Dool's Blues (M. Paich), Jump For Me (C. Basie), There'll Never Be Another You (Jacobs-Tinturin), The Lamp Is Low (DeRose-Shefter-Parish), What's New (Haggart-Burke), Theme From Lighthouse (M. Paich), Lullaby Of The Leaves (Young-Petkere), I'll Remember April (Raye-DePaul-Johnson).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass -Joe Mondragon, drums - Larry Bunker.
Session : Hollywood, CA.
Comments: Excellent guitar on Lullaby Of The Leaves and I'll Remember April.
Broadway Showcase - Buddy DeFranco and His Orchestra
1956 - Verve - MGV-2033.
Selections: Speak Low (K. Weill-O. Nash), Who Cares (G. and I. Gershwin), Autumn in New York (V. Duke), Have You Met Miss Jones (Rogers-Hart), Mad About the Boy (N. Coward), Almost Like Being In Love (Lerner-Loew), Can't Help Lovin' Dat Man (Kern-Hammerstein), That Old Debbil Moon (Lane-Harburg), Makin' Whoopee (Donaldson-Kahn), In the Still of the Night (C. Porter), Come rain or Come Shne (Mercer-Arlen), Heat Wave (I. Berlin).
Personnel: arranger - R. Garcia, clarinet - Buddy De Franco, guitar - Howard Roberts, piano - Sonny Clarke and no other information.
Session: L.A., August 27-28, 1956.
Comments: Good album with lots of guitar.
Caution Men Swinging - Dennis Farnon
1956 - RCA LPM 1495.
Selections: Caution Men Swinging (Farnon), Spring Will Be A Little Late This Year (Loesser), Lover Come Back To Me (Hammerstein-Romberg), Shoo Shoo Baby (Moore), Just You, Just Me (Greer-Klages), Isle Of Capri (Grosz-Kennedy), South Of the Border (Beresford-Kennedy), It Don't Mean A Thing (Ellington-Mills), Why Don't You Do Right (McCoy), Three Little Words (Ruby), Resume Speed (Farnon).
Personnel: arranger - Dennis Farnon, guitar - Howard Roberts, trumpet - Conte Candoli, Don Fagerquist, Frank Beach, Paul Gell, trombone - Tommy Pederson, Joe Howard, Bob Enevoldsen, George Roberts, alto sax - Jack Dumont, Brian Farnon, tenor sax - Ted Nash, Gene Cipriano, baritone sax - Chuck Gentry, bass - Cliff Hills, drums - Alvin Stoller, piano - Jimmy Rowles, Lou Levy.
Session: Los Angeles, 1956.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. H.R. plays a couple of nice solos on Just You, Just Me and Spring Will Be a Little Late This Year.
Our New Nellie - Nellie Lutcher with Russ Garcia and His Orchestra
1956 - Liberty LRP 3014.
Selections with H.R.: Have You Ever Been Lonely (De Rose-Brown), (All of a Sudden) My Heart Sings (Rome-Herpin-Jamblin), Rose Colored Glasses (Steiger-Malie), Ole Buttermilk Sky (Carmichael-Brooks).
Personnel: guitar - Howard Roberts, Ulysses Livingston, bass - Mike Rubin, drums - Bill Richmond, trumpets - Buddy Childers, Frank Beach, Bob Fowler, trombones - Lloyd Ulyate, Dick Nash, Si Zentner, Murry MacEachren, bass and baritone sax - Ryland Weston.
Session : April 12, 1956 in Los Angeles.
Comments: Some nice guitar on this album. Barney Kessel is on some of the remaining tracks.
The Misty Miss Christy - June Christy
1956 - Capitol.
Selections: That's All (Brandt-Haymes), I Didn't Know About You (Ellington-Russell), Dat-Dream (Ellington-Strayhorn-LaTouche), Sing Something Simple (H. Hupfeld), Maybe You'll Be There (Bloom-Gallop), Dearly Beloved (Kern-Mercer), Round Midnight (Hanighen-Williams-Monk), A Lovely Way To Spend An Evening (McHugh-Adams), The Wind (Freeman-Gladstone), This Year's Kisses (I. Berlin), For All We Know (Coots-Lewis), There's No You (Hopper-Adair-Durgom), You Took Advantage Of Me (Rodgers-Hart), Intrigue (Durand-Drake).
Personnel : arranger - Pete Rugolo, piano - Claude Williamson, Barry Aronov, trumpet - Pete Candoli, Maynard Ferguson, Conrad Gozzo, French horn - John Graas, guitar - Laurindo Almeida, Howard Roberts, trombone - Milt Bernhart, Frank Rosolino, Herbert Harper, George Roberts, Harry Betts flute - Bud Shank, Harry Klee, baritone saxophone - Bob Gordon, Chuck Gentry, tenor saxophone - Bob Cooper, drums - Lawrence Bunker, Shelley Manne, Alvin Stoller, bass - Harry Babasin, Joe Mondragon, harp - Corky Hale.
Session:July 28, 1955, Jan 9, 16, 23, 30 and May 23, 1956.
Blues and Brass - Elmer Bernstein
1956 - Decca DL8686.
Selections: (All compositions by Elmer Bernstein) Blues at Five, Jubilation, Exotica, The Poor People of Brazil, Central park - 4 AM, Wild and Crazy, Hop, Skip But Jump, Smooth, Lament in Five, Just a Little Jazz, Nightcap, Return of the Man.
Personnel: Conductor - Elmer Bernstein, guitar - Howard Roberts, Jack Marshall, Vito Mumolo, bass - Joe Mondragon, drums - Shelly Manne, piano - Ernest Hughes, Andre Previn, sax - Philip Sobel, Skeets Herfurt, Robert Cooper, Chuck Gentry, Bud Shank, Bill Holman, Dave Pell, trumpet - Pete Candoli, Maynard Ferguson, Ray S. Linn, Mannie Klein, Conrad Gozzo, Conte Candoli, trombone - Lloyd Ulyate, Marshall Cram, Milt Bernhart, Joe Howard, flute - Martin Ruderman, Sylvia Ruderman, clarinet - Mitchell Lurie.
Session: L.A. 1959.
Comments: Great music and a few nice contributions from H.R.
Modern Jazz Gallery
1956 - Kapp KXL-5001.
Selections with H.R.: As part of the Russ Garcia And His Orchestra: Music City (Garcia), Fishtail (Garcia), Smoggy Day (Garcia), Los Angeles River (Garcia), Number Four (Garcia). As part of the John T. Williams Quartet: Caribe (Towner), Spring Is Here (Rodgers-Hart), Anything Goes (Porter), Aunt Orsavella (Towner).
Session: With Russ Garcia - Hollywood, November 2, 1956 and with the John T. Williams Quartet - Hollywood, November 2, 1956.
Comments: H.R. is only comping on the Russ Garcia selections. The Russ Garcia Orchestra also recorded Out of Nowhere, Coquette and I Cover the Waterfront as part of these sessions and these were issued on the recording The Johnny Ever Greens ABC-147 (see below). H.R.'s soloing as part of the John T. Williams Quartet is outstanding and similar to his work on the John Towner Touch - 1957.
Pinky Winters - Lonely One
1956 - Creative/Argo (No. 604).
Selections: Lonely One, Polka Dots And Moonbeams, Cheek To Cheek, It Never Entered My Mind, You Smell So Good, Easy Living, Jeeper's Creepers, I've Got Plenty Of Love, Gone With The Wind, October's Dream, Pennies From Heaven, My Heart's A Child.
Personnel: vocal - Pinky Winters, drums - Chico Hamilton, piano - Gerald Wiggins, bass - Jim Wolf, guitar - Howard Roberts.
Comments: This is excellent recording. Pinky Winters is a *great* singer and H.R. makes some nice contributions. Many thanks to George Ziskind for procuring me a copy.
The Johnny Ever Greens - Russ Garcia and his Orchestra
1956 - ABC-Paramount ABC-147.
Selections: Body and Soul (Green-Heyman-Sour), Who Do You Think You Are (Green-Heyman), Living In Dreams (Green), Out Of Nowhere (Green-Heyman), I Wanna Be Loved (Green-Heyman), Steam Is On The Beam (Green-Marion), The Trembling Of A Leaf (Green-Lawrence), Easy Come, Easy Go (Green-Heyman), I Cover The Waterfront (Green-Heyman), Coquette (Green-Kahn-Lombardo), You're Mine You (Green-Heyman), Not Bad (Green-Dyrenforth), Hello My Lover Goodbye (Green-Heyman), There's A Ring Around The Moon (Green-Mercer), I'm Yours (Green-Harburg), With You With Me (Green-Mercer).
Personnel: arranger and leader - Russ Garcia, piano - John T. Williams, guitar - Howard Roberts, bass - Joe Comfort, drums - Alvin Stoller, Bill Richmond, trombone - Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Dick Nash, Joe Howard, trumpet - Don Fagerquist, Cappy Lewis, Buddy Childers, french horn - Vince De Rosa, xylophone - Ralph Hensell, vocals - Sue Allen, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 1956.
Comments : Good big band style comping by H.R. This is an album of tunes associated with Johnny Green.
Walter Gross plays his own great songs - Russell Garcia and his Orchestra
1956 - ABC-Paramount ABC-153.
Selections: Tenderly (Gross-Lawrence), Please Remember (Gross-Troup), Sit Down (Gross), Voice In The Wind (Gross-Frees), There Isn't Anybody Like You (Gross-Russell), After Summer (Gross), Once We Were Young (Gross), Mexican Moon (Gross), Dear To My Heart (Gross-Stanley), Gypsy (Gross-Rinker), Concerto For Broken Heart And Orchestra (Gross), The Birthday Song (Gross), You're Not In Love (Gross), Find Me I'M Lost (Gross), Theme From "Big City".
Personnel: arranger and leader - Russ Garcia, piano - Walter Gross, guitar - Howard Roberts, bass - Joe Comfort, drums - Jack Sperling, Alvin Stoller, trombone - Tommy Pederson, Lloyd Ulyate, Dick Nash, trumpet - Don Fagerquist, Cappy Lewis, Ray Linn, Don Fagerquist, Manny Klein, french horn - Richard Perisi, clarinet and flute - Harry Klee, ted Nash,oharp - Stella Catelluci, vocals - Ginger Hall, Sylvia Reid, Loulie Jean Norman, Eddie Robertson, Jud Conlon Rhythmaires, strings - not named.
Session: L.A., CA 195?.
Comments : Similar to the Johnny Ever Greens. Some nice contributions by H.R. but no solos.
Ray Gardner and His Quintet
1957 - Normandy Records 45 RPM Extended Play 100-A
Selections: If I Had You (Shapiro-Campbell-Connelly), Dancing On The Ceiling (Rodgers-Hart), Roses of Picardy (Wood-Weatherly), Almost Like Being In Love (Lerner-Loewe).
Personnel: clarinet - Ray Gardner, accordion - Ernie Felice, vibes - Larry Bunker, guitar - Howard Roberts, bass - Rolly Burdock, drums - Bill Richmond.
Session: L.A., January, 1957.
Comments : Interesting recording. The accordion contributes a nice touch and H.R. is quite prominent. Great music!
The Brothers Candoli
1957 - Dot DLP 3062.
Selections: Disc-location, Beautiful Love, Crazy Rhythm, My Funny Valentine, Exodus in Jazz, Fascinating Rhythm, Love Your Spell is Everywhere, It Never Entered My Mind, Pe-Con, Twilight on the Trail, Rockin' Boogie.
Personnel: trumpets - Pete and Conte Candoli, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, piano - Jimmy Rowles.
Session: May 6 and May 13, 1957 in L.A.
Comments : Lots of good contributions from H.R. on this good album. Includes H.R. playing 50's style rock guitar on Rockin' Boogie. Many thanks to Ed Barr of Valdosta State University for this.
Tony Perkins
1957 - Epic LN 3394, reissued on Fresh Sound Records.
Selections: April Fool (G. Davis), Just Friends (Klenner-Lewis), Hit the Road to Dreamland (Mercer-Arlen), This Time the Dream's on Me (Mercer-Arlen), How Long Has This Been Going On (G. and I. Gershwin), But Beautiful (Burke-Van Heusen), Why Shouldn't I (Porter), I Wish I Knew (Gordon-Warren), Accidents Will Happen (Burke-Van Heusen), Gone With the Wind (Wrubel-Magidson), Better Luck Next Time (Berlin), How About You (Freed-Laine).
Personnel:The Marty Paich Orchestra, vocal - Tony Perkins, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, piano - Marty Paich, trumpet - Don Fagerquist, alto sax - Herb Geller, tenor sax - Bill Perkins.
Session: 1957 in Hollywood.
Comments : Anthony Perkins of Psycho fame singing. Good instrumental contributions although not too much from H.R.
Sessions, Live
1957 - Calliope CAL 3015.
Selections with H.R.: Fascinating Rhythm, I Loves You Porgy, Wrap Your Troubles in Dreams, Memphis in June (Carmichael), Concerto for Heartbeat and Machine.
Personnel: vocals - Lucy Ann Polk, guitar - Howard Roberts, piano - Marty Paich, bass - Ralph Pena, drums - Frank De Vito.
Session: April 7, 1957, Stars of Jazz TV show, Los Angeles.
Comments: Nice solos by HR. This was also issued as Art Pepper/Buddy DeFranco Sessions, Live, and contains sessions from the same television show by Art Pepper (with Russ Freeman). The album cover only identifies H.R. as backing Lucy Ann Polk. Another discography lists the guitar and piano players on the Buddy DeFranco tracks as being Tal Farlow and Sonny Clark, respectively. This seems unlikely, however, as the guitarist sounds like H.R. and all these tracks are from the same television show. The tracks with Buddy DeFranco have been reissued on a Buddy DeFranco CD called Wailers. This CD contains the tracks of the original album (with Barney Kessel on guitar) together with 3 bonus tracks from the TV show which again make the mistake of crediting Tal Farlow as being on guitar. Interestingly the third track is a great version of Now's the Time and the guitar playing is very characteristic of H.R. at this time. Many thanks to Mitch Seidman for telling me about the Wailers CD.
Benny Carter Quartet and Quintet Take The "A" Train
1957 - issued on Fresh Sound FSR-CD 306 in 1997.
Selections with H.R.: Take The "A" Train (Strayhorn), Laura (D. Raksin), This Can't Be Love (Rodgers-Hart).
Personnel: guitar - Howard Roberts, bass - Bob Bertaux, drums - Bob Neel, piano - Pete Jolly, alto sax - Benny Carter.
Session : Hollywood, June 3 1957.
Comments : Excellent guitar on these 3 selections from the Stars of Jazz television show.
Lena Horne - Stormy Weather
1957 - originally issued on RCA 45rpm EP EPA-4098 reissued on Bluebird CD in 2002.
Selections with H.R.: The Surrey With The Fringe On Top (Rodgers-Hammerstein II).
Personnel: guitar - Howard Roberts, bass - George Duvivier, drums - Shelley Manne, piano - Gene DiNovi.
Session : Radio Recorders, Los Angeles, July 3 1957.
Comments : Just comping.
Showcase for Modern Jazz - Featuring Outstanding Westcoast Jazzmen - Directed by Howard Lucraft
1957 - Decca, DL8679.
Selections with H.R.: Blue Moon (Rodgers-Hart), I May Be Wrong Sullivan-Ruskin), Smog A La Mode (Lucraft).
Personnel: guitar - Howard Roberts, alto sax - Bud Shank, baritone sax -Buddy Collette, bass - Red Mitchell, drums - Mel Lewis.
Session: L.A. June, July 1957.
Commnets: The guitarist on these selections is identified as "John Doe" while the guitarist on other selections is identified as Howard Lucraft. The Lord Discography identifies John Doe as H.R. and I definitely agree. Beautiful playing by H.R. and very typical of this period in his playing.
Billy Daniels - You Go To My Head
1957 - Verve MGV2072.
Selections with H.R.: Blue Skies (I. Berlin), Blues Prelude (Jenkins-Bishop), It's Delovely (Porter), You Turned The Tables On Me (Alter-Mitchell), Comes Love (Brown-Stept-Tobias), Hallelujah (Youmans-Robin-Grey).
Personnel: vocals - Billy Daniels, arranger - Benny Carter, drums - Milt Holland, Frank Carlson, bass - Joe Comfort, guitar - Howard Roberts, piano - Benny Payne, Jimmy Rowles, trumpets - Pete Candoli, Buddy Childers, Harry Edison, Shorty Sherock, trombones - Milt Bernhart, Tommy Pederson, Bill Schaeffer, George Roberts, reeds - Willie Smith, Morris Bercou, Buddy Collette, Chuck Gentry, Ben Webster.
Session: L.A., June 12, 1957.
Comments: Some nice comping and a small solo on Blue Skies.
Four Freshmen - Voices in Latin
1957 - Capitol T922
Selections with H.R.: Yesterdays (Kern-Harbach), Mine (G. & I. Gershwin), Again (Newman-Cochran), What's New (Haggart-Burke), Star Eyes (Raye-DePaul).
Personnel: vocals - Ken Albers, Bob Flanigan, Ross Barbour, Don Barbour, arranger and conductor - Pete Rugolo, trombone - Frank Rosolino, John Halliburton, Milt Bernhart, Herbie Harper, bass trombone - George Roberts, tuba - Clarence Karella, piccolo, flute and alto flute - Herbie Mann, guitar - Howard Roberts, piano - Jimmy Rowles, bass - Red Mitchell, drums - Shelly Manne, vibes and percussion - Bernie Mattinson, percussion - Milt Holland, bongos and percussion - Chico Guerrero.
Session: July 12, 1957, Los Angeles.
Comments: Just comping. The remaining tracks have Laurindo Almeida on guitar.
Rusty Bryant Plays Jazz
1957 - DOT DLP 3079
Selections with H.R.: That Old Black Magic (Arlen-Mercer), Mr. Wonderful (Bock-Holofcener-Weiss).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Max Albright.
Session: Aug. 6, 8 1957, L.A.
Comments: No solos by H.R. but he plays some nice obligatos behind Bryant and an interesting picture of H.R. on the back. Other selections have Jack Marshall and John Collins on guitar. Generally a pretty nice album. Here is a great picture from the session.
America's Greatest Jazz - Rusty Bryant
1957 - DOT DLP 25353
Selections: My Shining Hour (Mercer-Arlen), I Should Care (Cahn-Stordahl-Weston), Susie (Bryant-Mack), Why Was I Born (Kern-Hammerstein), This Time's the Dream's on Me (Mercer-Arlen), I Cover the Waterfront (Green-Heyman), Blue Lou Sampson-Mills), Frances' Dream (Bryant), It's a Blue World (Forrest-Wright), Street of Dreams (Young-Lewis), Almost Like Being in Love (Loewe-Lerner), When Your Lover Has Gone (Swan).
Personnel: tenor sax - Rusty Bryant, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Red Callender, drums - Shelly Manne, Max Albright, Alvin Stoller.
Session: Aug. 6, 8 1957, L.A.
Comments: Although recorded at the same session that produced Rusty Bryant plays jazz these recordings weren't released until 1961. No personnel are listed on this record. Generally nice recording with a great H.R. solo on My Shining Hour.
Teach Me Tonight - The de Castro Sisters
1957 - released on BCD 16381 (Bear Company) in 1999
Selections with H.R.: That Little Word Called Love (Colman), Old Timer's Tune (Raye-Dennis).
Personnel: vocals - Peggy, Cherie and Babette de Castro, guitar - Jack Marshall, Bob Bain, Howard Roberts, piano - Herbert Dell, bass - Red Callender, drums - Irving Cottler, clarinet - Ted Nash, trombone - Milt Bernhart, trumpet - Ray Linn.
Session: Aug. 17 1957, Radio Recorders Annex, Hollywood.
Comments: Sounds like Jack Marshall on the solos.
Herbie Harper/6
1957 - Mode - released in 1995 on V.S.O.P.
Selections: Jay's Tune (J. Core), Little Orphan Annie (Kahn-Sanders), Chloe (Moret-Kahn), Let's Fall In Love (Arlen-Koehler), Skylark (Carmichael-Mercer), Long Ago And Far Away (Gershwin-Kern), That's For Sure (Frankie-Capp).
Personnel: piano - Marty Paich, guitar - Howard Roberts, bass - Red Mitchell, drums - Frankie Capp or Mel Lewis, trombone - Herbie Harper, tenor saxophone - Jay Core.
Session: Hollywood, CA.
Comments : Excellent guitar throughout.
Buddy DeFranco and the All Stars - Wholly Cats
1957 - Verve released on CD Lone Hill Jazz LHJ10282.
Selections with H.R.: Medley: Dancing in the Dark (Schwartz-Dietc)< Moonglow (Hudson-DeLange-Mills) and Time on My Hands (Adamson-Gordon-Youmans), Summit Ridge Drive (Artie Shaw).
Personnel: clarinet - Buddy Defranco, guitar - Howard Roberts, trumpet - Ray Linn, bass - Joe Mondragon, piano and harpsichord - Irving Garner, drums - Milt Holland.
Session: Oct. 31, 1957, Los Angeles.
Comments: Some of these tunes also appeared on Buddy DeFranco Plays Artie Shaw, 1957 - Verve MGV 2108. That album credits H.R. as being on Summit Ridge Drive while this album credits him with this tune plus the medley Dancing in the Dark, Moonglow and Time on my Hands and also Indian Love Call. The guitar on all the remaining tracks is credited to Barney Kessel. I don't think it is H.R. on Indian Love Call but I agree with the others.
Closed Session - Buddy DeFranco and his orchestra
1957 - Verve 2632 and reissued on Polygram in 1981 as UMV 2632.
Selections with H.R.: My Blue Heaven (Donaldson-Whiting), S' Wonderful (G. & I. Gershwin), Temptation (Freed-Brown), Softly as in a Morning Sunrise (Romberg-Hammerstein II).
Personnel: clarinet - Buddy DeFranco, trumpet - Ray Linn, piano and harpsichord - Paul Smith, guitar - Howard Roberts, bass - Joe Mondragon, drums - Milt Holland.
Session: L.A. November 1, 1957.
Comments : Excellent recording and some very nice guitar. I have the Polydor reissue and there are no personnel listed. Another discography lists Barney Kessel as the guitarist. Willie Borgschulte has a Verve (Japan) issue of this record which lists H.R. as the guitarist on these selections and Barney Kessel as the guitarist on the remaining tracks.
Axidentals - Hello, We're the Axidentals!
1957 - ABC-Paramount ABC-138.
Selections: I Lead A Charmed Life (Garcia-Russell), June Is Bustin' Out All Over (Rodgers-Hammerstein), You And The Night And The Music (Schwartz-Dietz), I Can't Give You Anything But Love (McHugh-Fields), Hello (Towner-Russell), Rock-A-Bye Your Baby With A Dixie Melody (Schwartz-Young-Lewis), I Can't Believe That You're In Love With Me (McHugh-Gaskill), Quiet Wind (Sumners-Chapman), Look For The Silver Lining (Kern-DeSylva), Love Is Sweeping The Country (Gershwin-Gershwin), For Me And My Gal (Goetz-Leslie-Meyer), What A Difference A Day Made (Grever-Adams), Hey Ma! I'm In Love (Elliott-Allen).
Personnel: vocals - Ann Winters, Milt Chapman, Sandy Rogers, Bob Sumners, arranger and leader - Russ Garcia, piano - Steve Atkin, guitar - Howard Roberts, bass - Joe Comfort, drums - Shelly Manne, Alvin Stoller or Mel Lewis, bongos - Ramon Rivera, trombone - Harry Betts, George Roberts, Tommy Pederson, Milt Bernhart, Lloyd Ulyate, Bob Pring Jr., Ray Klein, trumpet - Maynard Ferguson, Don Fagerquist, Pete Candoli, Buddy Childers, Ray Linn, strings - William Kurasch, William Miller, Lou Raderman, Aamerigo Rickey Marino.
Session: L.A., , January 1957.
Comments : Just comping.
The John Towner Touch - John Towner
1957 - Kapp KL1055.
Selections: While We're Young (Engvick-Wilder-Palitz), Zigeuner (Coward), Wait Till You See Her (Rodgers-Hart), Bess, Oh Where's My Bess (Gershwin-Gershwin), One Love (Robin-Rose), The Most Beautiful Girl In The World (Rodgers-Hart), Diane (Rapee-Pollack), I'll Take Romance (Hammerstein-Oakland), Dear To My Heart (Gross), Hello (Williams), Tenderly (Lawrence-Gross), In a Little Spanish Town (Wayne-Lewis-Young).
Personnel : piano - John Towner, drums - Jack Sperling, bass - Joe Mondragon, guitar - Howard Roberts.
Comments : Some very nice contributions from H.R. The pianist is actually John Towner Williams (see here ) of movie soundtrack fame. Thanks to Jay Smith for this.
June Christy - June Fair and Warmer!
1957 - Capitol.
Selections: I Want to be Happy, Imagination, I've Never Been in Love Before, Irrestible You, No More, Better Luck Next Time, Let There Be Love, The Best Thing For You, Bewarre My Heart, I Know Why, Its Always You.
Personnel: Arranger and conductor - Pete Rugolo, flute and alto sax - Bud Shank, tuba - Clarence Karella, french horn - Vincent DeRosa, trumpet - Don Fagerquist, trombone - Frank Rosolino, tenor sax - Bob Cooper, baritone sax - Dave Pell, vibes - Larry Bunker, piano - Benny Aronov, guitar, Howard Roberts, bass - Red Mitchell, drums - Shelly Manne.
Session: Los Angeles, January 3, 15, 21, 1957.
Comments: Many thanks to C.C. Weijman of Utrecht for this. Very nice recording.
June Christy - Gone For The Day
1957 - Capitol T902.
Selections: It's So Peaceful in the Country (A. Wilder), When the Sun Comes Out (Arlen-Koehler), It's a Most Unusual Day (McHugh-Adamson), Interlude (Rugolo), Love Turns Winter to Spring (Dennis-Killduff), When You Awake (Nemo), Lazy Afternoon (LaTouche-Moross), When the World Was Young (Philippe-Gerard-Mercer), Gone For The Day (Cooper-Russell), Lost in a Summer Night (Raskin-Previn), Give Me the Simple Life (Bloom-Ruby), (Love's Got Me in a) Lazy Mood (Miller-Mercer).
Personnel: Arranger and conductor - Pete Rugolo,
6/18/57: French horn - John Cave, flute - Bud Shank, guitar - Howard Roberts, bass - Red Callender, drums - Irv Cottler, plus a "Large String Section"
7/2/57: trombones - Milt Bernhart, Herbie Harper, Tommy Pederson, Frank Rosolino, bass trombone - George Roberts, vibraharp - Bernie Mattison, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Alvin Stoller
7/15/57: flute - Bud Shank, oboe - Bob Cooper, bass clairinet - Marty Berman, piano - Benny Aronov, guitar - Howard Roberts, bass - Red Mitchell, drums - Shelly Manne, plus a "Smaller String Section and Woodwind Group".
Session: June 18 and July 2 and 15, 1957 - Los Angeles.
Comments: H.R. provides some nice guitar backgrounds. Overall a good album. Also issued as June Christy - Interlude, Discovery DS-911. Many thanks to Alan Weissman for the additional information on the sessions.
Kirby Stone Four - Man I Flipped
1957 - Cadence Records CLP-1023.
Selections: S'Wonderful (Gershwins), Juke Box Dream (Stone-Gardner), It Could Happen To You (Burke-van Heusen), Bluebeard (Hall-Cloth), Reasonably Ugly Chick (Stone-Gardner), Outer Space (Donavan-McKellar-Mulcahy), Get Out Of Town (Porter), Lovable In The Dark (Mooney-Stone), Only Thirty-Three (Stone-Gardner), When You're Cheatin' On Your Baby (Barr-Meyers), Twice As Nice (Lester), I'd Give A Thousand Dollars (Stone-Gardner).
Personnel: vocals - Kirby Stone, Mike Gardner, Eddie Hall, Larry Foster, trombones - Joe Howard, Milt Bernhardt, George Roberts, woodwinds - Chuck Gentry, Skeets Herfurt, Ted Nash, Harry Klee, Howard Terry, drums - Tommy Romersa, Jack Sperling, vibes and xylophone - Red Norvo, Larry Bunker, bass - Joe Comfort, Rolly Bundock, piano - John Towner, guitar - Howard Roberts.
Session: 1957, L.A.
Comments: Excellent comping with some nice contributions.
Dave Garroway - Matt Dennis - Red Norvo - Some of My Favourites
1957 - RCA-Victor NL 45973, LPM1449 and reissued on RCA/Spain ND 74403.
Selections with H.R.: There's A Small Hotel (Rodgers-Hart), Lush Life (Strayhorn), The End Of A Love Affair (Redding), Hi-Fi Baby (Dennis-Seckler).
Personnel: arrangers - Dennis Farnon, Marty Paich, vocal - Matt Dennis, guitar - Howard Roberts, bass - Clifford Hils, drums - Alvin Stoller, piano - Jimmy Rowles, vibes - Larry Bunker, trumpet - Don Fagerquist.
Session: L.A., Jan. 15, 1957.
Comments : H.R. is part of a group backing up Matt Dennis (composer of Angel Eyes). Not too much guitar - one solo and some ensemble work. CD also has some Red Norvo recordings on it.
Frances Faye - Frances Faye Sings Folk Songs
1957 - Bethlehem BCP-6017, reissued on CD in 1999 on Bethlehem Archives.
Selections: Frankie and Johnny, Greensleeves, Skip To My Lou, Lonesome Road, Medley (Nobody Knows The Trouble I've Seen, Deep River, Goin Home), Johnny Has Gone For A Soldier, St. James Infirmary, Go 'Way From My Window, The Three Ravens, Clementine, Medley (Oif'n Pripitchik, Too-ra-loo-ra-loo-ral, Come Back To Sorrento), John Henry.
Personnel: Russ Garcia arranging and conducting, guitar - Howard Roberts, bass - Max Bennett, drums - Mel Lewis, trombone - Herbie Harper, Frank Rosolino, Lloyd Ulyate, Milt Berhart, trumpet - Don Fagerquist, Maynard Ferguson, Jimmy Salko and a string section.
Session: February and March, 1957 in Hollywood, CA.
Comments : A very interesting recording. I didn't expect to like this album but its great. Frances Faye was an excellent singer and the guitar is quite prominent. On some of the selections it is the singer, a string quartet, a chorus and the guitar - beautiful. H.R. does a fabulous job. The original recording was reissued on CD in 1999 with 5 additional tracks that are alternate takes of Frankie and Johnny, Lonesome Road, Go 'Way From My Window, Clementine and John Henry. Many thanks to John Paul Hoppe for the CD.
Tasty Dish - Buddy Collette quartet and quintet
1957 - reissued on Fresh Sound 1996
Selections with H.R.: Tasty Dish (B. Collette), I Still Love You (B. Collette), Mrs. Potts (E. Wright), You Better Go Now (R. Graham-B. Reichner).
Personnel: tenor sax, clarinet and flute - Buddy Collette, guitar - Howard Roberts, piano - Gerald Wiggins, bass - Eugene Wright, drums - Bill Richmond.
Session: Radio Recorders Studio, Hollywood, May 14, 1957.
Comments: Excellent.
West Coast Rock and Roll - Volume 1
1957 - Tampa - a collection of early rock and roll released in 1994 on V.S.O.P.
Selections with H.R.: Coquette (Kahn-Lombardo-Green).
Personnel: vocal - Billy Devroe, guitar - Howard Roberts.
The Magic Flute of Herbie Mann
1957 - Verve MGV-8247
Selections with H.R.: Moonlight Serenade (Miller-Parish), Body and Soul (Green), Oodles of Noodles (Dorsey), Stardust (Carmichael-Parish).
Personnel: flute - Herbie Mann, piano - Jimmy Rowles, bass- Buddy Clark, guitar - Howard Roberts, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: Capitol Studios, Hollywood, August 9, 1957.
Comments: Nice guitar solo on Moonlight Serenade. Otherwise just comping but nicely done. Oodles of Noodles and Stardust also appear on the albums Big Band Mann VSP-21, released in 1957, and the CD Herbie Mann - Jazz Masters 56, released in 1996. Moonlight Serenade also appears on the album Big Band Mann. Stardust also appears on the album the Sound of Mann.
Big Band Mann - Herbie Mann
1957 - VSP/VSP-21.
Selections with H.R.: Moonlight Serenade (Miller-Parish), Stardust (H. Carmichael), Contrasts (Oodles of Noodles) (J. Dorsey).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Three tunes from The Magic Flute of Herbie Mann.
Herbie Mann - Jazz Masters 56
1957 - released on CD in 1996.
Selections with H.R. : Oodles of Noodles (J. Dorsey), Stardust (H. Carmichael-M. Parish).
Personnel: piano - Jimmie Rowles, guitar - Howard Roberts, bass - Buddy Clark, drums - Mel Lewis, arranger - Frank DeVol, violins - Israel Baker, David Frisina, Alfred Lustgarten, Warren Miller, viola - Robert Ostrawsky, Milton Thomas, cello - Justin DiTullio, Edgar Lustgarten.
Session: August 9, 1957, Capitol Studios, Hollywood, CA.
Comments : Two tracks from The Magic Flute of Herbie Mann.
Flute 'N Oboe Bud Shank & Bob Cooper
1957 - World Pacific Records WP-1226.
Selections : The Didn't Believe Me (Kern-Rourke), Gypsy In My Soul ( Boland-Jaffe), In The Blue Of The Evening (D'Artega-Adair), I Want To Be Happy ( Youmans-Caesar), Tequila Time (B. Cooper), I Can't Get Started (Duke-Gershwin), Blues For Delilah (B. Cooper), Sunset And Wine (B. Cooper), What'll I Do (I. Berlin)
Personnel : oboe - Bob Cooper, flute - Bud Shank, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores, violins - Eudice Shapiro, Ben Gill, viola - Milt Thomas, cello - Ray Kramer.
Comments : Nice album with some great guitar on several cuts. Gypsy in My Soul, I Want To Be Happy, What'll I Do are part of the release Blowin' Country, Bud Shank and Bob Cooper, Pacific Jazz, 1998.
Jazz West Coast - An Anthology of California Music Volume III
1957 - Pacific Jazz
Selections with H.R. : Sweet Georgia Brown (Bernie-Casey-Pinkard).
Personnel : This selection is by the Bud Shank - Bob Cooper Quintet comprised of: arranger - Bob Cooper, flute - Bud Shank, oboe - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Chuck Flores.
Comments : Similar to the music on Flute N'Oboe. Excellent comping and solo by H.R. Thanks to Adrian Pellew for finding this one. This selection is part of a new release Blowin' Country, Bud Shank and Bob Cooper on Pacific Jazz, 1998.
Buddy DeFranco - Helen Forrest "Black Magic"
1957 - Shamrock Records LP 1801 (on tape).
Selections: Billie's Bounce, September Song, I Had The Craziest Dream, That Old Feeling, Them There Eyes, Taking A Chance On Love, Black Magic, Thou Swell, Falling In Love With Love, Soft Winds, From This Moment On, Who Cares, You Turned The Tables On Me, I Don't Want To Walk Without You, Stella By Starlight.
Personnel : clarinet - Buddy DeFranco, piano - Jimmy Rowles, drums - Frank Devino, bass - Bob Bertel, guitar - Howard Roberts, vibes - Victor Feldman.
Session: L.A., May 1957.
Comments: Good.
Buddy Rich Just Sings
1957 - Verve, reissued 1998.
Selections : Cathy (M. Torme), Between The Devil And The Deep Blue Sea (H. Arlen-T. Koehler). It's Alright With Me (Porter), Over The Rainbow (Arlen-Harburg), You Took Advantage Of me (Rodgers-Hart), Can't We Be Friends (James-Swift), It's Only A Paper Moon (Arlen-Rose-Harburg), Melancholy Baby (Norton-Webster-Burnett), Cheek To Cheek (Berlin), It Don't Mean A Thing If It Ain't Got That Swing (Ellington-Mills), I Hadn't Anyone Till You (Noble), That Old Feeling (Brown-Fain).
Personnel : vocal - Buddy Rich, guitar - Howard Roberts, bass - Joe Mondragon, drums - Alvin Stoller, trumpet - Harry "Sweets" Edison, tenor sax - Ben Webster, piano - Paul Smith.
Session : Jan. 31, 1957.
Comments : This is a good recording with lots of great contributions from H.R. and others. An alternate take of Between The Devil And The Deep Blue Sea was issued on Buddy Rich in the Compact Jazz Series in 1987.
Collections - Joe Morello
1957 - Score SLP-4031 (on tape).
Selections: Sweet Georgis Brown, Little Girl, Have You Met Miss Jones?, Ghost Of A Chance, I've Got The World On A String.
Personnel: drums - Joe Morello, bass - Ben Tucker, piano - Gerald Wiggins, vibes - Red Norvo, guitar - Howard Roberts.
Session : L.A. Jan. 3, 1957.
Comments: A fabulous record with some wonderful guitar. It reminds me of the Red Norvo-Tal Farlow recordings. Thanks to Dave Gould for this. Recording also includes some tunes with Art Pepper playing with Red Borvo (these selections were released on the Art Pepper CD Straight Life) but H.R. is not playing on these. These tunes have been released on the Fresh Sound CD FSR-CD 478 Mr. Roberts Plays Guitar, January 2008.
Julie London - Boy on a Dolphin
1957 - London 45-HLU.8414.
Selections: Boy on a Dolphin (Friedhofer-Webster).
Personnel: vocals - Julie London, and the Howard Roberts Orchestra.
Session : L.A., 1957.
Comments: A lovely recording, just Julie and what sounds like two guitars (the Orchestra). This was the theme song to the movie of the same name starring Alan Ladd and Sophia Loren. Many thanks to Keen Butterworth for this.
Ricky/Ricky Nelson
1957 and 1958 - Liberty and rereleased on a single CD by BCD Records BGOCD440 in 1999
Selections on Ricky: Honeycomb (Merrill), Boppin' The Blues (Griffin-Perkins), Be-Bop Baby (Lendhurst), Have I Told You Lately That I Love You? (Wiseman), Teenage Doll (Lendhurst-Lendhurst), If You Can't Rock Me (Jacobs), Whole Lotta Shakin' Goin' On (Williams), Baby I'm Sorry (Scott), Am I Blue? (Askt-Clarke), I'm Confessin' (Dougherty-Reynolds-Neiburg), Your True Love (Perkins), True Love (Porter).
Selections on Ricky Nelson: Shirley Lee (Trammell), Someday (You'll Want Me To Want You) (Hodges), There's Good Rockin' Tonight (Brown), I'm Feelin' Sorry (Clement), Down The Line (Orbison), Unchained Melody (North-Zaret), I'm In Love Again (Domino-Bartholomew), Don't Leave Me This Way (Nelson), My Babe (Dixon), I'll Walk Alone (Styne-Cahn), There Goes My Baby (Kirkland-Burton), Poor Little Fool (Sheeley).
Personnel: vocals and guitar - Ricky Nelson, guitar - James Burton, Howard Roberts, Joe Maphis, Bob Bain, James Kirkland, piano - Ozzie Nelson, Roger Renner, Gene Garf, Don Ferris, bass - George "Bud" DeNaut, Ray Siegel, drums - Earl Palmer, Richie Frost, background vocals - Jordanaires.
Session: 1957 and 1958 respectively in L.A.
Comments: H.R. not really identifiable and session players are not documented.
The Swing's to TV Bob Cooper and Bud Shank
1958 - World Pacific WPM-411.
Selections with HR: When You Wish Upon a Star (Washington-Harline), Put Your Dreams Away (Mann-Weiss-Lowe), Tenderly (Gross-Lawrence), Danny Boy (traditional).
Personnel: flute and alto sax - Bud Shank, oboe, tenor sax and arranger - Bob Cooper, guitar - Howard Roberts, bass - Don Prell, drums - Shelly Manne, violins - Eudice Shapiro, Bob Sushel, Jack Pepper, viola - Milt Thomas, cello - Ray Kramer.
Session: January 21, 1958, Capitol Studios, L.A.
Comments: The remaining cuts on this album were also issued on an album called Blowin' Country that did not include H.R. The material from Flute 'N Oboe, Blowin' Country, and the Swing's to TV (plus some other albums that do not include H.R.) have all been reissued on a Mosaic box set Bud Shank & Bob Cooper, Mosaic 10 Select, B2-95069.These four selections all contain some nice contributions from H.R.
Larry Williams - Bad Boy
1958 Specialty SP626, SP634 and reissued on Specialty SPCD 7002, 1988
Selections with H.R.: Dizzy, Miss Lizzy (Williams), Heebie-Jeebies (Jackson-Marascalco), Hootchy-Koo (Williams).
Personnel: piano and vocals - Larry Williams, guitar - Rene Hall, Howard Roberts, baritone sax - Jewell Grant, tenor sax - Plas Johnson, bass - Ted Brinson, drums - Earl Palmer.
Session: February, 19, 1958, Radio Recorder, Hollywood.
Comments: I think the solos are played by Rene Hall, including the characteristic lick on Dizzy, Miss Lizzy.
Perez Prado - Prez
1958 - RCA 74321 26052 (reissued on CD in 1995).
Selections with H.R.: Fireworks (king Guion), Leyenda Mexicana (Prado), Adios Mi Chaparrita (Stewart-Esperon), Leo's Special (Acosta), Maria Bonita ((Lara).
Personnel: guitar - Howard Roberts, Irving Ashby, Vince Terri, Howard Heitmeyer, bass - Tony Reyes, drums - Leo Acosta, piano - Perez Prado, trombone - Ernie Tack, trumpet - Ollie Mitchell, Louis Valizan, Bob McKenzie, Tony Facciuto, Homer Salinas, alto sax - Rene Bloch, tenor sax - Ignacio Maez, Frank Vasquez, baritone sax - Don Robinson, conga - Modesto Duran, bongo - Carlos Vidal.
Session : Hollywood, June 28, 1957.
Comments : Four guitars playing unison lines on these recordings with the King of the Mambo.
Julie Is Her Name - Volume II - Julie London
1958 - Liberty
Selections: Blue Moon (Rodgers-Hart), What Is This Thing Called Love (Porter), How Long Has This Been Going On (Gershwin-Gershwin), Too Good To Be True (Boland), Spring Is Here (Rodgers-Hart), Goody Goody (Mercer-Malneck), The One I Love Belongs To Somebody Else (Jones-Kahn), I'm Lucky (Myrow-De Lange), Hot Toddy (Flanagan), Little White Lies (Donaldson), I Guess I'll Have To Change My Plan (Schwartz-Dietz), I Got Lost In His Arms (Berlin).
Personnel: guitar - Howard Roberts, bass - Red Mitchell.
Comments : Great vocals and fantastic guitar work.
Jazz City Presents ...
1958 - BCP-80
Selections with H.R.: I'm Glad There's You (Maderia-Dorsey).
Personnel:Leader - Russ Garcia, trumpet - Don Fagerquist, violon - Ricky Mariano, Bill Kurasch, viola - Stan Harris, cello - Fred Katz, guitar - Howard Roberts, bass - Bob Enevoldsen, drums - Don Heath.
Comments : Beautiful solos by H.R. and Don Fagerquist on this. Album also contains contributions from Frank Rosolino and a group called "The Swingers". The album was recorded at a club called Jazz City which was closing.
Olay! The New Sound of Ruth Olay
1958 - Emarcy MG 36125
Selections: Singin' In The Rain (Brown-Freed), Slow But Sure (Carter-Hanson), Lover Man (Davis-Ramirez-Sherman), When The Sun Comes Out (Arlen-Koehler), Lucky day (DeSylva-Brown-Henderson), It Never Entered My Mind (Rodgers-Hart), You Make Me Feel So Young (Myrow-Gordon), I Let A Song Go Out Of My Heart (Ellington-Nemo-Mills-Redmond), Love For Sale (Porter), I'm Glad There Is You (Madeira-Dorsey), After You've Gone (Creamer-Layton), I Wanna Be Loved (Green-Rose-Heyman).
Personnel: guitar - Howard Roberts, bass - Red Mitchell, drums - Larry Bunker, flute - Bud Shank, cello - Ed Lustgarten, piano - Bud Motsinger, trombone - Milt Bernhart, George Roberts, Sy Zentner, trumpet - Don Fagerquist, vibraphone - Red Norvo.
Comments : Some nice music on this but not much guitar.
Peggy Lee - Things Are Swingin'
1958 - Capitol ST-1049 (LP).
Selections: It's A Wonderful World (Harold Adamson-Jan Savitt-Johnny Watson), Things Are Swingin' (Peggy Lee-Jack Marshall), Alright, OK, You Win (Mayme Watts-Sid Wyche), Ridin' High (Cole Porter), It's Been A Long, Long Time (Sammy Cahn-Jule Styne), Lullaby In Rhythm (Benny Goodman-Walter Hirsch-Clarence Profit-Edgar Sampson), Alone Together (Harold Dietz-Arthur Schwartz), I'm Beginning To See The Light (Duke Ellington-Don George-Johnny Hodges-Harry James), It's A Good, Good Night (Peggy Lee), You're Getting To Be A Habit With Me (Al Dubin-Harry Warren), You're Mine, You (Johnny Green-Edward Heyman), Life Is For Livin' (Sammy Cahn-Jimmy Van Heusen).
Personnel: conductor - Jack Marshall, saxes - Justin Gordon, George Smith, trumpet - Don Fagerquist, Conrad Gozzo, Manny Klein, trombone - Milt Bernhardt, valve trombone- Bob Enevoldsen, guitar - Howard Roberts, bass - Joe Mondragon, piano - Joe Harnell, drums - Shelly Manne.
Session: May 19 and 25 and 27 and 30, 1958, Los Angeles.
Comments: H.R. is only comping but it is discernible and nicely done. Overall a nice recording. Also recorded during these sessions, but not included in the original LP were Fever (Eddie Cooley-Johnny Davenport, Peggy Lee) on May 19 and You Don't Know (Walter Spriggs) on May 25. Fever does not include guitar, but You Don't Know does. In addition to the original 45 (Capitol F 3998, with "Fever" on the A side), the song has turned on Peggy's LP "All Aglow Again (T 1366, rel. 1960) and in the CD "Bewitching-Lee!: Peggy Lee Sings Her Greatest Hits" (DCC 179, rel. 1999). Many thanks to Ivan Santiago for this information. According to Mitch Holder they were initially going to use the guitar on Fever but for some reason that didn't work so they had H.R. do the finger snaps instead!
Skål - Bert Dahlander Quartet
1958 - Verve MGV-8253.
Selections: How Do You Do (Dahlander), Johnson's Wax (Gibbs), When Lights Are Low (Carter-Williams), Hip Soup (Swenson), But Not For Me (G. and I. Gershwin), Emma (Dahlander), Room 608 (Silver), Ballad Medley: Everything Happens To Me (Adair-Dennis), Moonlight in Vermont (Suesdorf-Blackburn), Flamingo (Grouya-Anderson).
Personnel: guitar - Howard Roberts, bass - Curtis Counce, drums - Bert Dahlander, vibes - Victor Feldman.
Session: L.A., Sept. 16-17, 1957.
Comments : Thanks to Dave Gould (see Jazz Studio Two above) for this. Great guitar and music generally. A real find! Perhaps his best outing as a bebop jazz guitarist.
Jazz Loves Paris - Buddy Collette
1958 - Specialty - CD - reissued in 1991.
Selections: I Love Paris (C. Porter), Pigalle (G. Ulmer-G. Konyn- C. Newman , La Vie En Rose (E. Piaf-M. David-Louiguy), Darling, Je Vous Aime Beaucoup (A. Sosenko), Mam'selle (M. Gordon-E. Goulding), C'est Si Bon (A. Hornez-J. Seelen-H. Betti), Domino (J. Plante-D. Raye- L. Ferrari), Song from the Moulin Rouge (Where Is You Heart) (Auric-Engvick), The Last Tim I Saw Paris (O. Hammerstein-J. Kern), Under Paris Skies (J. Drejac-K. Gannon-H. Giraud), Darling, Je Vous Aime Beaucoup, (Take 1-alternate), Mam'selle (Take 2 Alternate), The Last Time I Saw Paris (Take 3 - alternate), La Vie En Rose (Take 1 - alternate).
Personnel: alto and tenor sax - Buddy Collette, trombone - Frank Rosolino, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond, Bill Douglass, tuba - Red Callender.
Session: L.A. Jan. 24, 1958.
Comments: Great guitar!
Shorty Rogers Swings
1958 - Bluebird - CD - reissued in 1990.
Selections: Chances Are (A. Stillman-R. Allen), No Such Luck (A. Stilman-R. Allen), It's Not For Me To Say (A. Stilman-R. Allen), Lilac Chiffon (P. Hayes-R. Allen), I Just Don't Know (R. Allen-J. Stone), Who Needs You (A. Stilman-R. Allen), Everybody Loves A Lover (R. Allen-R. Adler), Come To Me (R. Allen-P.Hayes), My Very Good Friend In The Looking Glass (A. Stilman-R. Allen), You Know How It Is (A. Stilman-R. Allen), A Very Special Love (R. Allen), Teacher, Teacher (A. Stilman-R. Allen), My Shining Hour ( J. Mercer-H. Arlen), Get Happy (T. Koehler-H. Arlen), Blues In The Night ( J. Mercer-H. Arlen), Lets Fall In Love (T. Koehler-H. Arlen), That Old Black Magic (J. Mercer-H. Arlen).
Personnel: trumpet - Shorty Rogers, Pete Condoli, Conti Condoli, Al Porcino, Don Fagerquist, Oliver Mitchell, Ray Triscari, Buddy Childers, Carrol Lewis, Ray Linn, alto sax - Bud Shank, Paul Horn, tenor sax - Bob Cooper, Bill Holman, Richie Kamuca, Herb Geller, baritone sax - Charles Gentry, trombone - Harry Betts, David Wells, Ken Shroyer, Bob Enevoldsen, Richard Nash, Frank Rosolino, Marshall Cram, clarinet - Jimmy Giuffre, guitar - Barney Kessel, Howard Roberts, bass - Joe Mondragon, drums - Mel Lewis, piano - Pete Jolly, vibes - Larry Bunker, Red Norvo.
Comments: Howard Roberts is on cuts 5-12. There are some good guitar solos. Barney Kessel is on the remaining cuts.
Sessions, Live: Terry Gibbs, Pete Jolly and Red Norvo
1958 - Calliope CAL3010.
Selections with H.R.: Between the Devil and the Deep Blue Sea, Red Eye, Fascinating Rhythm.
Personnel: alto sa and flute - Bud Shank, vibes - Red Norvo, guitar - Howard Roberts, bass - unknown, drums - Shelly Manne.
Session: Los Angeles, CA, April 21, 1958.
Comments: This is from the TV show Stars of Jazz. Thanks to Dave Gould for this. Jim Harrod, whose information is sound, has informed me that guitarist on this is LP is Jimmy Wyble and not H.R.
Jack Kane - Kane is Able
1958 - Coral 57219.
Selections: St. Louis Blues (W.C. Handy), I'm Getting Sentimental Over You (N. Washington-G. Bassman), Clare's Tune (J. Kane), Carioca (G. Kahn- V. Youmans-E. Eliscu), Wouldn't It Be Loverly (A. Lerner-F. Loewe), The Sound Of The Blues (J. Kane), Lazy River (H. Carmichael-S Arodin) with an interploation of Tea For two (V. Youmans-I. Caesar), Some Of These Days (S. Brooks), Jane's Jump (J. Kane), It's A Lonesome Old Town (H. Tobias-C. Kisco), The Alfern Song (J. Kane), Poor Butterfly (R. Hubbell-J. Golden).
Personnel: conductor and arranger - Jack Kane, trumpet - Conrad Gozzo, Don Fagerquist, Frank Beach, Don Palladino, Uan Rasey, saxes - Bud Shank, Herb Geller, Georgie Auls, Justin Gordon, Chuck Gentry, Phil Sobel, Jack Dumont, Red Nash, Ronnie Lang, Champ Webb, Vic Garber, trombones - Tommy Pederson, Joe Howard, George Roberts, P. Tanner, F. Rosolino, Sy Zentner, french horn - John Graas, tuba - Red Callender, flutes - Jules Kinsler, Gene Cipriano, bassoon - Lloyd Hildebrand, clarinet - F. Falensky, bass - Red Mitchell, drums - A. Stoller, piano - P. Smith, vibes - Larry Bunker, guitar - Howard Roberts, percussion - L. Singer and also 24 strings.
Session: L.A., Oct. 30, Nov. 2, 1958.
Comments: Excellent album. H.R. makes some nice contributions. Jack Kane was from Toronto and graduated with a degree in Music from the University of Toronto. He was well-known in Canada during the late 50's as he had a popular show on the CBC called the Music Makers. Some of this is documented in They Loved to Play, Memories of the Golden Age in Canadian Music by Murray Ginsberg, Eastend Books, 1998 which discusses the history of the Canadian music industry. Kane went to work as a music director for a Edie Gorme-Steve Lawrence television show which is when this recording was made. He died quite young in 1961. The Jack Kane composition The Sound of the Blues is particularly good. I got this recording on tape from the National Library of Canada with the kind permission of Universal Music.
Allan Kane, the son of Jack Kane, supplied me with the information that this recording was nominated for a Grammy in 1958 in the category Best Orchestra Performance.
Merrill Moore - Boogie My Blues Away
1958 - only issued in 1990 on Bear Family Records as a double CD.
Selections: South, Sentimental Journey, Shanty In Old Shanty Town, Sweet Georgia Brown, Moore Blues, Nobody's Sweetheart, Jumpin' At The Woodside, Somebody Stole My Gal, Lazy River.
Personnel: piano - Merrill Moore, guitar - Howard Roberts, bass - Morty Korb, drums - Ted Kovar.
Comments: I've only listed the selections where Howard Roberts plays.
Claude Williamson mulls the Mulligan with his twin Jazz Pianos and Trio
1958 - Fresh Sound Records FSR-CD 54.
Selections : All compositions by Gerry Mulligan. Walkin' Shoes, Limelight, Westwood Walk, A Ballad, Utter Chaos, Bark For Barksdale, Simbah, Blue At The Roots, Apple Core, Line For Lyons, Ontet.
Personnel : piano - Claude Williamson, guitar - Howard Roberts, bass - Red Mitchell, drums - Stan Levey.
Comments : A very nice album.
Harry Belafonte Sings the Blues
1958 - RCA LOP-1006.
Selections with H.R.: Losing Hand (Calhoun) Cotton Fields (Carter), God Bless the Child (Smith), Sinner's Prayer (Fulson), Mary Ann (Charles), Hallelujah I Love Her So (Charles), A Fool For You (Charles).
Personnel: vocal - Harry Belafonte, trumpet - Don Fagerquist, trombone - Milt Berhart, tenor sax - Bumps Meyers, Plas Johnson, piano - Jimmy Rowles, guitar - Millard Thomas, Laurindo Almeida, electric bass - Howard Roberts, bass - Red Callender, drums - Jack Sperling.
Session: Hollywood, June 5 and 7, 1958.
Comments: H.R. on electric bass.
Moviesville Jazz - Heinie Beau and His Hollywood Jazz Stars
1958 - Coral CRL 57247.
Selections with H.R.: All compositions by Heinie Beau, Scotland Yardbird, In Your Private Eye, The Man With The Golden Embouchure, The Tattooed Street Car Named Baby, Under The Blowtop, The Cool Tin Roof Story.
Personnel: trumpet - Don Fagerquist, French horn - John Graas, clarinet, alto sax, flute - Heinie Beau, flute, tenor sax, clarinet - Buddy Collette, bass sax, baritine sax, bass clarinet - Chuck Gentry, guitar - Howard Roberts, bass - Red Mitchell, drums - Bill Richmond.
Session: L.A. June 30, 1958.
Comments: Some nice solos by H.R. on this one.
The Diamonds Meet Pete Rugolo
1958 - Mercury 20368.
Selections : Wrap Your Trouble In Dreams, Baby Won't You Please Come Home, The Best Things In Life Are Free, Ain't Misbehavin', Until The Real Thing Comes Along, I'll Always Be In Love With You, Will You Still Be Mine, Tenderly, For All We Know, One For My Baby, Lulu's Back In Town, You'll Never Walk Alone.
Personnel : The Pete Rugolo Orchestra but no personnel are listed on the album. According to one of the Diamonds (Mike Douglas), who communicated this information to Barry Worrell, Howard Roberts was a member of the orchestra for this recording.
Comments : The Diamonds were a famous, popular singing group during the 50's perhaps best known for their hit Little Darlin. They hailed from Ontario. For a web-site on the Diamonds see Barry Worrell, who also supplied this tape. On this album they sing jazz songs and do a pretty good job. H.R. can be heard One For My Baby.
Chet Atkins in Hollywood
1958 - reissue of the original RCA recording by Classic Compact Disc LSPDC 1993.
Selections : Armein's Theme, Let it be Me, Theme from Picnic, Theme from a Dream, Estrellita, Jitterbug Waltz, Little Old Lady, Limelight, The Three Bells, Santa Lucia, Greensleeves, Meet Mr. Callaghan.
Personnel : Chet Atkins and the Dennis Farnon Orchestra, guitar - Chet Atkins, Howard Roberts, violin - Jacques Gasselin, Sam Albert, Eudice Shapiro, Gerlad Vinci, Jack Shulman, viola - Cecil Figelski, Joseph DiFiore, Milton Thomas, Virginia Majewski, Alexander Neiman, cello - Edger Lustgarten, Victor Gottlieb harp - Kathryn Julye, horn - John Cave, piano - Geoffrey Clarkson, bass - Cliff Hills, George Calender, drums - Jack Sperling, Larry Bunker.
Session: October 23, 1958.
Comments : This photo shows Chet with H.R. at the session. H.R. is only comping although it is quite noticeable on Jitterbug Waltz.
Keely Smith - Politely
1958 - Capitol ST 1073.
Selections: Sweet and Lovely (Arnheim-Tobias-Lemare), Cocktails for Two (Johnston-Coslow), The Song is You (Kern-Hammerstein II), I'll Get By (Ahlert-Turk), Lullaby Of The Leaves (Petkere-Young), On the Sunny Side of the Street (McHugh-Fields), East Of The Sun (And West Of The Moon) (Bowman), I Can't Get Started (Duke-Gershwin), I'll Never Smile Again (Ruth Lewis), S'posin (Denniker-Razaf), All the Way (Cahn), I Never Knew (I Could Love Anybody Like I'm Loving You) (Pitts-Egan-Marsh).
Personnel: vocal - Keely Smith, leader - Billy May, contractor - David Klein , producer - Voyle Gilmore, guitar - Howard Robert, bass - Ralph Pena, percussion - Larry Bunker, drums - Irving Cottler, piano - Paul T. Smith, harp - Veryle Mills, saxophone - Justin Gordon, saxophone - Jules Jacob, saxophone - Harry Klee, saxophone - Wilbur Schwartz, trombone - Francis Howard, trombone - Ed. Kusby, trombone - Murray McEachern, trombone - Sy Zentner, trumpet - Uan Uasey, cello - Edgar Lustgarten, cello - Kurt Reher, viola - Alvin Hinken, viola - Paul Robyn, violin - Victor Arno, violin - Israel Baker, violin - Ben Gill, violin - Dan Lube, violin - Erno Neufeld, violin - Lou Raderman, violin - Paul Shure, violin - Marshall Sosson.
Session: June 30th. 1958. (6.00pm./9.30pm.) Capitol Tower, 1750 North Vine Street, Hollywood.
Comments: Not much guitar but great vocals.
Invitation - Guitars Inc.
1958 - Warner Bros. B-1206.
Selections: Lets Get Away From It All (Gennis-Adair), The Bad and The Beautiful (Raskin), Lullaby Of Broadway (Dubin-Warren), Lullaby Of the Leaves (Petkere-Young), Darn That Dream (Van Heusen-DeLange), My Heart Belongs To Daddy (Porter), Invitation (Kaper), All The Things You Are (Kern-Hammerstein II), Chloe (Kahn-Morel), Pick Yourself Up (Kern-Fields), `Tis Autumn (Nemo), The Guitars Inc. (Corb).
Personnel : guitar - Howard Roberts, Bob Bain, Tom Tedesco, Al Hendrickson, Tony Rizzi, Dano bass - Bill Pitman.
Session: 1958.
Comments: Nice record. Thanks to Mitch Holder for this.
Ernestine Anderson - Toast of the Nation's Critics
1958 - Mercury SR 60074
Selections: Runnin' Wild (Gibbs-Grey-Wood), Stardust (Carmichael-Parish), Heat Wave (Berlin), My Ship (Weil-Gershwin), Azure-Te (Davis-Wolf), Welcome to The Club (Torme), There's A Boat Dat's Leavin' Soon For New York (Gershwin-Gershwin), Social Call (Gryce-Hendricks), There Will Never be Another You (Warren-Gordon), A Sleepin' Bee (Arlen-Capote), Interlude (Rugolo-Russell).
Personnel: Orchestra arranged and conducted by Pete Rugolo, alto sax and flute - Bud Shank, flute - Buddy Collette, guitar - Howard Roberts, drums - Shelly Manne and many others.
Session: L.A., 1958.
Comments: A few nice guitar solos on this.
Troyce Key
1958-59 Warner Bros. 5007.
Selections: Drown In My Own Tears (Glover), Baby Please Don't Go (Gardner-Key).
Personnel: vocal - Troyce Key, guitar - Howard Roberts, Eddie Cochran, drums - Earl Palmer.
Session: L.A.
Comments: Nice solo on Baby Please Don't Go but I don't think this is H.R. (too rockabilly) probably Eddie Cochran.
Soft and Subtle - Guitars Inc.
1959 - Warner Bros. B-1246.
Selections: El Cumbanchero (Rafael Hernandez), Hajji Baba (Tiomkin-Washington), Lazy Afternoon (Moross-La Touche), In an Eighteenth Century Drawing Room (Lawrence-Scott), Nature Boy (Ahbez), Get Happy (Arlen-Koehler), Snowfall (Thornhill), It Don't Mean a Thing (Ellington-Mills), Oasis (Corb), Our Waltz (Rose), Paganini's Progress (Harris), Good-bye (Jenkins).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: H.R. is identified as Bob Howe on this! Excellent record.
Guitars Inc. - Guy Dad, It's Early
1959 - Warner Bros. 9-5049 45rpm.
Selections: Guy Dad, It's Early (M. Corb), El Cumbanchero (Rafael Hernandez).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: El Cumbanchero also appears on the album Soft and Subtle but Guy Dad, It's Early isn't on any of the Guitars Inc. albums.
Guitars at Christmas - Guitars Inc.
1959 - Warner Bros. B-1340.
Selections: Jingle Bells, First Noel, Santa Claus Is Coming To Town (Gillespie-Coots), Caroling, Caroling (Hutson-Burt), God Rest Ye Merry Gentlemen, The Star Carol (hutson-Burt), Deck The Halls, Winter Wonderland (Smith-Bernard), O Little Town Of Bethlehem, Sleigh Ride (Parish-Anderson), Silent Night, Rudolf The Red-Nosed Reindeer (J. Marks), Some Children See Him (Hutson-Burt), Come, Dear Children (Hutson-Burt), Come All Ye Faithful, White Christmas (I. Berlin).
Personnel : guitar - Howard Roberts, Tom Tedesco, Al Hendrickson, Bobby Gibbons, bass - Bill Pitman.
Session: 1959
Comments: Thanks to Jay Smith for this.
Clarinet Portrait - Jerry Fuller Sextet
1959 Andex A 3008.
Selections: I'm Getting Sentimental Over You (Bassman-Washington), That's A Plenty (Pollack-Gilbert), Minor Epic (Estes) On Green Dolphin Street (Kaper-Washington), Judy (Carmichael-Lerner), Somebody Loves Me (Gershwin-MacDonald-De Silva), Makin' Whoopee (Donaldson-Kahn), Raz-Ma-Tazz (Florence), Benny's Idea (Fuller), Georgia on My Mind (Carmichael-Gorrell).
Personnel: clarinet - Jerry Fuller, guitar - Howard Roberts, piano - Bob Florence, drums - Frank Capps, vibes - Gene Estes, bass - Mel Pollan.
Session: L.A., Rex Productions, March 17, 19, 20 1958.
Comments: Music like Benny Goodman. Quite good and excellent contributions from H.R.
Gary Crosby - The Happy Bachelor
1959 - Verve MV 2664.
Selections: The Happy Bachelor (Mercer-DePaul), I've Got My Love To Keep Me Warm (Berlin), Manana (Lee-Barbour), I'll Never Be Free (Weiss-Benjamin), Old Buttermilk Sky (Carmichael-Brooks), You Won't Be Satisfied Until You Break My Heart (James-Stock), Side by Side (Woods), Undecided (Shavers-Robin), I'm Begining to See the Light (James-Ellington-Hodges-George), Glow Worm (Linck-Mercer), Into Each Life Some Rain Must Fall (Roberts-Fisher), This Little Girl of Mine (Charles).
Personnel: vocals - Gary Crosby, trumpet - Pete Candoli, vibes - Gene Estes, piano - Paul Smith, bass - Joe Mondragon, guitar - Howard Roberts, drums - Larry Bunker, Bill Richmond.
Session: L.A. April 8, 9, 10, 1959.
Comments: Some excellent contributions by H.R. on this.
Ricky Nelson - Ricky Sings Again
1959 - Imperial LP - 9061
Selections with H.R.: It's All In The Game (Dawes-Sigman), Restless Kid (Johnny Cash).
Personnel: vocals and guitar - Rick Nelson, guitar - James Burton, Howard Roberts, Billy Strange, piano - Gene Garf, bass - George "Bud" DeNaut, drums - Earl Palmer, background vocals - Jordanaires.
Session: September 2, 1958 at Master Recorders, Los Angeles.
Comments: This album was released again on CD (Capitol 72435-32451-2-2) along with the album Songs by Ricky. James Burton plays some great guitar. H.R. is not really discernible.
Bobby Enevoldsen Smorgasbord
1959 - Liberty LJH 6008.
Selections: Ding, Dong The Witch Is Dead (Arlen-Harburg), Swingin' On A Star (Burke-Van Heusen), Swinger's Dream (Mac Dougald), My Ideal (Robin-Whiting-Chase), How Low The Tune (Troup-Enevoldsen), John's Jumble (Enevoldsen), You're In Love (B. Troup), Thinking Of You (Kalmar-Ruby), No Time For Love (Davidson), Mr Know It All (B. Troup), Oh! Look At Me Now (John DeVries), Bob's Boy (Bob Gordon).
Personnel: guitar - Howard Roberts, bass - Bob Enevoldsen, Red Mitchell , drums - Don Heath, Larry Bunker, piano - Marty Paich, Red Mitchell, tenor sax and valve trombone - Bob Enevoldsen.
Session: L.A. Nov. 25, 29 1959.
Comments: Nice album and good guitar. H.R. plays a nice solo on Ding, Dong The Witch Is Dead reaffirming my belief that he could solo effectively on almost anything.
Rugolo Plays Kenton
1959 - Mercury MG-C36143.
Selections: Eager Beaver (Kenton), Painted Rhythm (Kenton), Minor Riff (Kenton), Concerto For Doghouse (Kenton), Sunset Tower (Kenton), Concerto To End All Concertos (Kenton), Artistry In Rhythm (Kenton), Opus In Pastels (Kenton), Theme To The West (Kenton-Rugolo), Artistry In Boogie (Kenton-Rugolo), Capitol Punishment (Kenton-Rugolo)
Personnel: trumpets - Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist; trombones - Milt Bernhart, Frank Rosolino, Harry Betts, Kenny Shroyer; saxes - Bud Shank, Harry Klee, Bob Cooper, Dave Pell, Chuck Gentry; bass - Red Callender; piano - Claude Williamson; drums - Shelly Manne; guitar - Howard Roberts.
Session: L.A. Oct. 25, 26, Nov. 15, 24, 1958.
The Jazz Sound From Peter Gunn
1959 - RCA but reissued on Fresh Sound FSCD 2009.
Selections: (all compositions by H. Mancini), Peter Gunn, Blue Steel, The Brothers Go To Mother's, Session At Pete's Pad, Walkin' Bass, Dreamsville, The Little Man Theme, Sorta Blue, Goofin' At The Coffee House, A Quiet Gass, A Profound Gass, Fallout!, Lightly, Soft Sounds, Odd Ball, The Floater, Blues For Mother's, Brief And Breezy, Joanna, My Manne Shelly, Spook!, A Ball For John, Goofin' At The Coffee House (2nd), Not From Dixie.
Personnel: arranged by Maxwell Davis, Pete Candoli, Bob Florence, trumpets - Pete Candoli, Conte Candoli, Don Fagerquist trombones - Milt Bernhart, Frank Rosolino, Dave Wells, saxes - Bud Shank, Ted Nash, Ronnie Lang, Dick Nash, bass - Red Mitchell, piano - Henry Mancini, Jimmy Rowles, John T. Williams, Russ Freeman, drums - Shelly Manne, Frank Capp, percussion - Emil Richards, guitar - Howard Roberts, Tony Rizzi, vibes - Larry Bunker.
Session:
Comments: Excellent album with many contributions from H.R. Many thanks to jazz record collector C.C. Weijman of Utrecht, Netherlands for this.
Homage - The Georgie Auld Sextet with Howard Roberts
1959 - released on CD Xanadu 1994.
Selections: Good Enough To Keep, On The Alamo (Kahn-Jones), Seven Come Eleven (Goodman-Christian), Soft Winds (Goodman-Henderson), Wholly Cats (B. Goodman), Flying Home (B. Goodman-L. Hampton), Benny's Bugle (B. Goodman-J. Bushkin), Rose Room (Hickman-Williams), A Smooth One (B. Goodman-C. Christian-Mundy), Sweet Lorraine (Burwell-Parish), I Found A New Baby (Palmer-Williams), Scarecrow (B. Goodman).
Personnel : guitar - Howard Roberts, tenor saxophone - Georgie Auld, trumpet - Don Fagerquist, piano - Lou Levy, vibes - Larry Bunker, bass - Leroy Vinegar, drums - Mel Lewis.
Session: Sept. 5, 1959.
Comments: Great playing! Interesting to hear H.R. play some Charlie Christian licks! Many thanks to Dave Gould for this (see above under Jazz Studio Two).
Googie René presents Romesville
1959 - Class CS-LP-5003 (also as Rendezvous S-1313)
Selections: Romesville (L. René-R. René), Cool It at the Coliseum (R. René), Serenade in the Night (Bixio Cherubini), Flippin' the Pizza (R. René), Come Back to Sorrento (E. and G.B. Curtis), Caesar's Pad (L. René-R. René), Cafe Roman Candle (R. René), Rebecca (Jeanne Vikki), Cherry Ferrari (R. René), Farewell To Rome (L. René).
Personnel: trumpets - Gerald Wilson, Conrad Gozzo, Mickey Mangano, John Audino, John Anderson, trombones - John Ewing, Vern Friley, Lester Robinson, reeds - Buddy Collette, Plas Johnson, Jackie Kelso, Floyd Turnham, Willies Smith, vibes - Larry Bunker, piano - Rafael Googie Rene, guitar - Howard Roberts, mandolin - Al Viola, Al Hendrickson, bass - Red Callender, drums - Earl Palmer, percussion - Milt Holland, Modesto Duran, Jack Costanzo, arranger - Rene Hall.
Session: 1959, L.A.
Comments: A concept album where the "concept" seems to be a beatnik interpretation of Rome. So lots of bongos! Still not a bad record and H.R. solos on Flippin' the Pizza (backed by Jack Costanzo on bongos) and on Cherry Ferrari.
Two for the Money - Brothers Candoli
1959 - Mercury MG 20515 (on tape).
Selections: Splanky (Hefti), Soak Yo' Sally (Candoli), A-Lue-Cha (Parker), Rifts For Rosie (Candoli), Caravan (Tizol-Ellington-Mills), Take The A Train (Strayhorn), Doodlin (Silver), Willow Weep For Me (Ronell), Blueing Boogie (Gillespie), Richard Diamond Blues (Rugolo)
Personnel : Pete Candoli, Conte Candoli (trumpet), Jimmy Rowles (piano) Max Bennett (bass), Frank Capp (drums), Howard Roberts (guitar).
Session: L.A., 1959.
The Four Freshmen and Five Guitars
1959 - Capitol ST1255, reissued by EMI in 1998 on CD together with The Four Freshmen and Five Saxes.
Selections: Rain, The More I See You, This October, Don't Worry 'Bout Me,It's A Pity To Say Goodnight, Oh Lonely Winter, It All Depends On You, Nancy (With The Laughing Face), I Never Knew, Invitation, I Understand, Come Rain Or Come Shine.
Personnel : arranger - Jack Marshall, vocals - Dick Reynolds, Ross Barbour, Don Barbour, Ken Albers, Bob Flanigan, guitars - Al Hendrickson, Howard Roberts, Bobby Gibbons, Tommy Tedesco, Bill Pitman, George van Eps, Al Viola, Herb Ellis, Barney Kessel, vibes - Larry Bunker, bass - Red Mitchell, drums - Shelly Manne, Jack Sperling.
Session: June 16, 17 1959, Los Angeles.
Comments : The five guitars used varied by track. The album doesn't even list the players. This information came from the book Now You Know - The Story of the Four Freshmen by Ross Barbour, Balboa Books .
It's All Right With Me - Cathy Hayes
1959 - HIFI Record reissued on Fresh Sound Records FSR-CD 55 1989.
Selections: The Angels Sing, Blue Moods, You Smell So Good, Happiness Is Just A Thing Called Joe, Wonder Why, Tangerine, If I Were A Bell, Last Night When We Were Young, Down In The Depths, You Don't Know What Love Is, My Old Flame, You And The Night And The Music.
Personnel : arranger - Barney kessel, vocals - Cathy Hayes, guitars - Barney Kessel, Howard Roberts, vibes - Larry Bunker, bass - Monte Budwig, drums - Shelly Manne, Mel Lewis, trumpet - Conte Candoli, alto sax - Bud Shank, tenor sax - Bill Perkins and Ted Nash, Baritone sax - Justin Gordon, piano - Jimmy Rowles.
Session : L.A., 1959.
Comments : H.R. comps and Barney does the leads, fills etc. Nice album and interesting to have H.R. and Barney Kessel on the same recording.
Swing Song Book - Les Brown and his Band Of Renown
1959 - Coral CRL 757300.
Selections: Swing Book Blues (J. Hill), How High The Moon (N. Hamilton-M. Lewis, Early Autumn (R. Burns-W. Herman-J. Mercer), King Porter Stomp (Jellyroll Morton), Lullaby of Birdland (G. Shearing), Moten Swing (B. Moten-B. Moten), Just In Time (J. Styne-B. Comden-A. Green), I Want To Be Happy (V. Youmans-I. Caesar), Take The ``A" Train (B. Strayhorn), I'm Begining To See The Light (H. James-D. Ellington-J. Hodges-D. Georges), Pick Yourself Up (J. Kern-D. Fields), Lean Baby (B. May-R. Alfred).
Personnel: arrangers - Jim Hill, Wes Hensel, Billy May, trumpets - Wes Hensel, Dick Collins, Jerry Kadowitz, Clinton McMahan, Frank Beach, trombones - Dick Kenney, Roy Main, J. Hill, Clyde Brown, reeds - Matt Utal, Ralph La Polla, Bill Usselton, Abe Aaron, Butch Stone, piano - Donn Trenner, bass - Jules Berteaux, drums - Jack Sperling. guitar - Howard Roberts, Tony Rizzi, Allan Reuss.
Session: L.A., Jan. 22, 1959.
Comments: Good big band rhythm guitar.
Les Brown and His Band of Renown
1959 - Coral 9-62085 (45 rpm).
Selections: Boola (R. Sweetwater), Say It With Music (I. Berlin).
Personnel: None listed but probably similar to Swing Song Book as listed above.
Session: Feb. 9-11, 1959, L.A.
Comments: Excellent rhythm playing by H.R.
Marx Makes Broadway "with flute and friends" - Dick Marx
195? - Omega - released on V.S.O.P. in 1985.
Selections: Joey, Joey (F. Loesser), Why Can't You Behave (C. Porter), All Of You (C. Porter), Cool (L. Bernstein), Too Close For Comfort (Holofocner-Weiss), If I Were A Bell (F. Loesser), Baubles, Bangles And Beads (Forrest-Wright), A Sleepin' Bee (F. Loesser), Guys And Dolls (F. Loesser), Just In Time (Comden-Green-Styne).
Personnel : piano - Dick Marx, flute - Buddy Collette, drums - Frank Capp, bass - Red Mitchell and Carson Smith, guitar - Howard Roberts and Irving Ashby.
Comments : Excellent album. H.R. is on 3 cuts and Irving Ashby on 5. The album notes don't identify which are which but my guess is H.R. on All Of You, If I Were A Bell and Just In Time.
Swingin' Hi ... Fi - Al Anthony, Wizard of the Organ
195? - Liberty LST 7021.
Selections: Vanessa (Fisher-Fisher), Carmelita (P. Faith), I Can't Believe That You're in Love with Me (McHugh-Gaskill), Camptown races (Foster), Tropical Merengue (Munoz), Baia (Golbert-Barrosa), Sabre Dance (Khatchaturian), You're Driving Me Crazy (Donaldson), Ebb Tide (Maxwell), Everything I've Got (Belongs To You) (Rodgers-Hart), Swingin' Hi (Al Anthony), Eleanora (Arendo).
Personnel : organ - Al Anthony, drums - Mel Lewis, bass - Buddy Clark, guitar - Howard Roberts.
Comments : H.R. contributes a bit.
Listen to the Music of Russell Garcia and His Orchestra
195? Kapp Records KL-1050.
Selections: Worry-Go-Roun
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'A Pocketful Of Blues': Charles Lloyd On 'Passin' Thru'
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"Nate Chinen"
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2017-07-14T00:00:00
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The saxophonist, one of jazz's enlightened elders, reflects in an interview on his latest album with his New Quartet and on remaining in the moment while rifling through his back pages.
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en
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NPR
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https://www.npr.org/2017/07/14/537057941/a-pocketful-of-blues-charles-lloyd-on-passin-thru
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"I've got a pocketful of blues here still, you know?" says Charles Lloyd, the saxophonist-flutist-composer-bandleader who, at 79, has become one of jazz's enlightened elders.
To the extent that it's a question, it's a loaded one. Musically speaking, the blues ring out loud and clear in Lloyd's imploring sound — no less today than 50 years ago, when he was sharing concert bills at the Fillmore Auditorium in San Francisco with Janis Joplin and the Grateful Dead. Or further back, when he was cutting his teeth in Memphis, Tenn.
But Lloyd is also speaking metaphorically about that pocketful of blues, as a condition shared by all of humanity. A lifelong seeker, he's prone to framing things in such universal terms. He sees music as a means of transcendence during the fleeting time we have on this earthly plane; that's the unspoken implication in the title of his extraordinary new album, Passin' Thru.
Recorded on tour last year, and just out on Blue Note, it's the most accurate portrayal yet of the intuitive, shape-shifting band known as the Charles Lloyd New Quartet, with Jason Moran on piano, Reuben Rogers on bass and Eric Harland on drums. Lloyd has led this ensemble on and off for the last decade, honing a deep collective bond as well as a quick, sinewy stride.
The new album captures that dynamic in some new compositions, including "Nu Blues," which moves with a relaxed swagger, and "Shiva Prayer," which inhabits an elegiac shroud. But Lloyd also forages through his back pages, without compromising the here-in-the-moment alertness he refers to as his "nowness sutras." Passin' Thru features explosive new versions of a few old calling cards, like "Dream Weaver" and the galloping title track.
Hear 'Passin' Thru'
Another example: "Tagore," a rumination that Lloyd used to play with his 1960s quartet, finds reinvention here as "Tagore On The Delta," a bluesy strut. Like much of Passin' Thru, it attests to the fully articulated artistry of Moran. (Listen to the piano solo on "Tagore" and you'll hear a tough, stuttering gesture Moran has used in his own music, notably on a recent piece called "South Side Digging.") But no member of the band exerts any greater influence than the others.
Lloyd, who spoke with me in a midtown Manhattan studio in the spring, expresses a sort of humbled gratitude when it comes to the musicians who have gravitated to him in recent years. "All my life I would go up to the roof and I would call my people, and I'm waiting for them to come," he says. "And finally these guys show up, and gals show up, and something happens where they're in the now with me, and they seem to love it."
Hear the conversation at the audio link above, and read on for a transcript.
Nate Chinen: One thing that strikes me about this album, Passin' Thru, is that it stands in two places, time-wise. You know, it's a very up-to-the-minute dispatch from your current band. But there are gestures toward the past: the title track, of course, is a song first heard on a Chico Hamilton album in 1962. And so, can you talk about the ways in which this recording straddles time — past and present?
Charles Lloyd: Well, the time that I live in is that "nowness sutras," and those pieces spanning those decades, as you point out, they come from my childhood dreams of elevation in song. And so, "passing through." That's what we're all doing here. This is not our home — you can't build a house on a bridge thing. So I've always wanted to make a contribution. And that songs, they're my children. So they come to visit me from time to time. It's not the same manifestation, or it's not like repeating a song or something — it's about the ongoingness of what that is. And sometimes with this orchestra, we will start to play different pieces will come alive to us and speak to us. But I always dreamed of having an orchestra that could immediately get my signals, you know, and stay in the nowness with it and they get it. So all my life I would go up to the roof and I would call my people and I'm waiting for them to come, you know, and they come in some ways. And finally these guys show up, and gals show up, and something happens where they're in the now with me and they seem to love it.
We should say that this is the band that you call the Charles Lloyd New Quartet, with Jason Moran on piano, Reuben Rogers on bass and Eric Harland on drums. The first album that this band released was Rabo De Nube in 2007. How much further back does the band go? When was it formed?
We started with Jason. We started up I think about 10 years ago, in Oporto in Portugal, and so we have gone from there. But what happened was, I was playing Carnegie Hall in 2005, I think, and Jason was backstage. And he and Eric grew up together in Houston, so they're both from there. Eric introduced me, and I didn't know Jason before. It was the Sangam trio, with Zakir Hussain and Eric Harland, which is another group of ours. And he said, "Your music touched me all the way to my backbone." So that's a Southern thing. And so we kind of went in there. And then a little later on, I had a tour and Geri Allen had double-booked herself, she was playing piano in the quartet. We had a long European tour and she could only do half of it. Anyway, Eric said, "Jason wants to play with you." So I said "I thought he had his own group." He said, "Well, he wants to play with you." So I didn't say anything and he said, "He understands." And that right there cemented it because Eric, he's an intuitive, you know.
I've seen this band a handful of times, and it's always a transcendent and incredibly dynamic experience. And this album, to me, really captures that. It might be the first official release that fully captures the energy that this band has. Can you speak to that a bit, and whether you agree?
I was thinking about you and you came to the Vanguard for the 80th anniversary and some of these pieces we played there...
You played "Nu Blues."
"Nu Blues," and we played "Ruminations" and I wrote it for the suite, for Wild Man Dance, but it didn't make it there because I didn't think it was finished. When I came home and looked at the piano and played it, I realized it was finished. So these things are organic and they grow, they manifest. And what happens that, we've grown too, and and those nowness sutras that I keep talking about — now I'll stop using that word — is that we take this journey together, and we help each other every night. And when you saw us — you've seen us other times too, but at the 80th Vanguard thing — something happens with us where it just ... it takes off, you know? And I love that, because you're always looking for the zone when you play.
And the benefit for me now of having more mileage on the chassis is that I don't have to — the benefit of experience in the years, because if you stay awake during your apprenticeship through here, a lot of blessings can happen for you, but wakefulness is the main one. And what happens there is that now, I get direct connection from the infinite that blesses me with song. And so the benefits of all those years, to be able to apprehend that with a group, and they can hear it in the sound, because it's sonic, you know; we're sound seekers. And we get these blessings. I'm not able to articulate it, I'm simply trying to say what you probably can put into words better, it's not my forte — but I'm very thrilled that we have this rapport.
I didn't start the name New Quartet, it came around. People were talking about it as opposed to the first great quartet I had with Keith Jarrett, Jack DeJohnette and Cecil McBee. And this group here — it's its own entity. There's not comparisons such as that. Even in our day, with that group 50 years ago, it was very organic and very beautiful, and we'd go exploring every night. And we didn't come back the same. But it was beautiful.
I also think about this really interesting convergence of spiritual searching and a really earthy groove energy that this band has. And I think on this album, there's a song called "Tagore On The Delta" that that really brings that home. You know, it has so much — almost like a Motown stomp. And it has a real Southern energy, which is something that most of the members of this band have in common.
We're all Southern, yes, continue.
So can you talk about about that, this way in which sort of the heavens and the earth converge in this ensemble?
Well, it's all one. Because when I was a little boy, I didn't understand the mechanics of how the game was set up in racism and all these things how the world was in dysfunction. I came to find, when I came here to the city to live, around the 1960s, I was always trying to change the world. And then I realized that I hadn't done any parts of that. But what I could do is change myself.
And I had a very beautiful blessing from home, which is in the manifest of Booker Little, whom I grew up with in Memphis. People don't know about him, but he was a great spiritual master. He had attained perfection at the age of 23 when he left, and he took me home with him. I was staying at the Alvin Hotel, where Prez stayed and all that, but he took me home with him and said "No you're not, you're coming with me." And he talked to me for several months, night and day, like that. But it straightened me out about character and such, because I was ready to jump into the fast lane, being here in the city.
But what happens is that that the West with its idea of religion, it didn't touch me as deeply as the East did, because [in the West] they were always talking about sin, and in the East they say, "you fall down a lot, but get up." And I was drawn to that. And Tagore was a great Indian poet, Rabindranath Tagore, and he was someone that moved me greatly. And then I realized — I had recorded that piece, "Tagore," with Keith Jarrett and those guys, but this time I realized that the Delta is upon me, because I come from there. And I've been going home to Memphis to play a lot over the years now. I had never done that for about 40 years — they hadn't invited me. Now they invite me annually and I go back to play concerts and those invisible bonds — I played with those people like Howlin' Wolf and Junior Parker and Johnny Ace and Bobby "Blue" Bland and B.B. King, all that stuff. And it was very profound. So the profundity of that, how important it is to me and was, and that's such a source. And to have been a part of that, and to have had that blessing and to play with this guy Willie Mitchell, who was a modernist, who had a big band that played like Dizzy's big band. There were always these geniuses in Memphis, like Phineas Newborn and Willie Mitchell, and they would always bring something. And so I imbibed all of this, and with Tagore and with my dreams of how to, say, facing the mirror of my inadequacies and such like that, and and rising up, it comes together with my Delta blues, you know?
Right. It's interesting to think about that Memphis history being reignited in you, in a way, because you've been going back.
This place is Mecca — New York City — for us jazz musicians. When we came here, we knew about guys in other towns, Underground Railroad stories and such. And then Memphis was such a source place that the fact that I was there was such a blessing. I thought was a strange place to be born, you know. But when I look back in terms of process, it was Mecca, too. Because I remember I would play with Phineas Newborn, Calvin Newborn across the river in West Memphis, Ark., at the club called the Plantation Inn, and Elvis would come over every night to watch watch Calvin, and to study his moves and stuff, you know? There was this pedal-steel guitar player, a white boy named Al Vescovo, that used to play on the Sunday afternoons before we would go to play, and he loved my playing. And he was playing with the Snearly Ranch Boys, but he had an affinity for me, and we would get together and jam. We couldn't play publicly together in that place at that time. But now I'm playing with a pedal-steel player, so the same thing you're saying, the juxtaposition of modernity and the wisdom of the ancients, of Howlin' Wolf, it all seems to be connecting for me.
Do you feel — as you are thinking about "nowness," to use your word, are you also reflecting more on your own history, on your own musical life? Do you find yourself returning to things more often, or in a more concerted fashion?
Well, when when you speak of repertoire earlier, "Passin' Thru" and such, I don't plan that. Those pieces, they come up. But, it's a cauldron, and you know, you must understand your past to go forward like that. So I don't see lines of demarcation or any of that kind of stuff impeding what's going on. And so I'm just in it but not of it. But something happens where I get the vision of how important it is to bring that with me, because I've got a pocketful of blues here still, you know? I got to talk that and realize that all of humanity, we've got a pocketful of blues, and I don't understand why the world doesn't straighten out and be straight-up and character and be kind to each other and like that. But since I can't understand it, as a young man I blew fuses and had to go away. Now, as an elder, I can come and sing this song and those who are open to it, they receive it, you know, around the world. And it's becoming universal, so to say, and I have friends and allies in all kinds of countries, and musicians in Greece and India and different places that I play with, and Africa. So I'm still very young at this, and freshness always calls me. I love the blessing of freshness. We were talking about nowness, but it's connected. And so, I want to go and imbibe the deep truth of whatever it is I'm shining a light on.
As I listen to this album there's something so exciting about the feeling that a song can veer in any direction at any time, and sometimes it happens — as in "Nu Blues," when Eric takes a drum solo that veers off into the stratosphere, or when Jason plays a piano solo on a tune, it really can follow these different paths. And I wonder for you, as the leader of this group — when that happens, do you feel like you are hitched to a comet? Do you feel like you're standing back and watching this thing happen? Or do you feel like you're leading the charge?
You know, that brings something to mind. Once I was in Montreal and Wayne [Shorter] was playing there with his quartet. And we were friends from way back in the day: I was with Cannonball Adderley and he was with [Art] Blakey and we'd meet up and hang out and play together and all of that kind of stuff. And I remember the next day after the concert, the critics writing that the trio was great but Wayne was kind of lacking or something like that. But Wayne was quietly directing all of that stuff, you know. I don't think they got it. Because he was sitting on the stool playing or whatever was going on. It was amazing to me how he was directing the ship. You know, so when they're soloing, I'm in there, I'm playing with them. When you play with me, of course it's the thing that Art Blakey always said, make sure the crime fits the punishment, you know, and the punishment fits the crime. I'm sorry, I said it backwards, but it's the same.
So what I'm saying is that if I have the right ingredients, these great artists, Jason Moran and Eric Harland and Reuben Rogers — they like to be here and they say they get something here they don't get other places, so it's the benefits of experience. See they like something about the days, they hear it in my sound. And I like the flexibility that we can turn the ship around now, rather than trying to build up to something. As you say, it can seem quirky, but it's actually — these miraculous moments happen, and I dream and live for those. And since I always lived in that zone, my people finally come to, my tribe, as Duke Ellington would say ... But I'm so thrilled that it keeps happening in my lifetime, that people come, because I think if that were not the case, that long sabbatical I had and going up on the roof — I think that if they hadn't come, I probably would still be in nature, you know, because I'm drawn to nature and I draw a lot from that. But I'm extremely moved about what I'm doing, and it's backing up on me because there's so much music that wants to floodgate out, you know.
So this group — 10 years, I think, but that's nothing, you know, in time. But if you make a connection — like, Eric is the closest to me, and it's a direct manifestation from the great master Billy Higgins, because he left in May of that year of 2001, and in September I met Eric and he said that he would always be with me, and he sent Eric to me and we have this very close thing of — I had it with Jack DeJohnette with the old quartet, it's the drummer that something happens with. Billy Higgins always said that his job was to make this music sound the way it's supposed to sound. Well, he meant that, you know, "Lonely Woman" or whatever he was doing playing double time on Ornette's stuff. So I think all the great leaders — the same thing with the film directors, those great people like John Ford and Howard Hawks and on and on. They get the right ingredients together, and talent, and they let them give them their freedom.
This is that elusive magical thing, because you and Eric do have this really deep connection.
Yeah.
And it's been expressed in Sangam as well as in this band. And many times I've seen the two of you connect. At the same time, Eric and Jason have this history that goes back to when they were teenagers.
Right.
And all of that, you can't parse that. But all of that manifests in the chemistry of this band.
It's a blessing.
Is there any way that you could characterize its growth or evolution over a decade? Does this band sound different now than it did to you in 2007?
Oh, yeah, yeah. Lots of growth and, how to say, that thing about freedom and wonder, which is what this music is. We mean that. And you have people who are dedicated to truth and love, and they express that, and we travel well together — we look after each other and such, and we do it on the bandstand, too. And, I like that they're all explorers, too. And so am I. We don't have disagreements. And if when we we play something, or I quietly speak to something, whatever that is, I don't know that they come to me to speak about things, but they seem to understand and I'm not a dictator here. I'm in service, we're all in service. But we're in service to an ideal that was before their time, you see. And yet they bring something from their coming up, you know, in this environment. And it only adds, it doesn't detract.
And it doesn't make — there's no alien stuff in what they're doing to me. As the old-timers said, there's nothing new under the sun. So it's just how you can apprehend it, or how you can be be available to it. I like to be available to it because it will come up on you and it will give you something. And it's a direct, for me, now, these sonic touchings, they come direct from the Creator and I hear them in my mind's ear, and I'm getting closer and closer.
We've just been recording, and I noticed that finally after all these decades of — engineers never get my sound. It seems like what they do when I record, the microphones sound different than I hear myself in my mind's ear, or you can hear me if you're sitting there a few feet away from me, or in the hall. But I'm getting closer to hearing it. And it's the same thing with the other musicians. It's a tone thing. What I love about it is that it's still evolving and still growing and has freshness.
Yeah. Well, there's nothing more rewarding than the idea that this is a music that is not only continuing but constantly renewing. And I think that this album is wonderful evidence of that and thank you so much.
I thank you and I appreciate your — how to say, receiving it, and knowing what it is and to experience it. You're a young man, but at the same time, we've all been through here many times whether we know it or not. So the cumulative benefits of that and karma and all of that sort of thing and reincarnation. I think that somehow, we're all, life is ever-evolving. It might not seem like so in the current moment of, how to say, dysfunction of the condition of the condition. However, I think that we can go forward in the music, and tell stories that can elevate and give people their own stories to be told.
Charles Lloyd, thank you again.
Thank you, Nate Chinen. I appreciate it.
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JazzProfiles: Pacific Jazz Samplers [From the Archives]
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[
""
] | null |
[
"Steven Cerra"
] | null |
A blog about Jazz featuring CD,and book reviews and postings about the music and its makers.
|
en
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https://jazzprofiles.blogspot.com/favicon.ico
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https://jazzprofiles.blogspot.com/2014/02/pacific-jazz-samplers-from-archives.html
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877
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dbpedia
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0
| 29
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https://www.jerryjazzmusician.com/tag/chico-hamilton/
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en
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chico hamilton – Jerry Jazz Musician
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[
"Author Joe Maita"
] |
2007-12-29T18:31:57-08:00
|
en
| null |
“Reminiscing in Tempo” is part of a continuing effort to provide Jerry Jazz Musician readers with unique forms of “edu-tainment.” As often as possible, we pose one question via e mail to a small number of prominent and diverse people. The question is designed to provoke a lively response that will potentially include the memories and/or opinion of those solicited.
What three or four songs best epitomize the era of the Civil Rights Movement?
Featuring Bruce Lundvall, Chico Hamilton, Gerald Early, Juan Williams, Arthur Kempton and others…
...
|
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877
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dbpedia
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3
| 9
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https://www.jazzmusicarchives.com/artist/chico-hamilton
|
en
|
CHICO HAMILTON
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[] |
[
"CHICO HAMILTON",
"post bop",
"cool jazz",
"hard bop",
"world fusion",
"funk jazz",
"latin rock/soul",
"soul jazz",
"rnb",
"pop/art song/folk",
"latin jazz",
"jazz related soundtracks",
"acid jazz fusion",
"music",
"top albums",
"discography",
"biography",
"official website",
"pictures",
"videos from YouTube",
"related forum topics",
"shouts",
"news",
"tour dates and events",
"live auctions",
"online shopping sites",
"reviews",
"ratings",
"discography",
"studios",
"live",
"compilations (boxset)",
"EPs on CD",
"Vinyl",
"LP",
"cassette",
"videos",
"Blu-ray",
"DVD",
"VHS"
] | null |
[] | null |
CHICO HAMILTON is a post bop, cool jazz, hard bop, world fusion, funk jazz, latin rock/soul, soul jazz, rnb, pop/art song/folk, latin jazz, jazz related soundtracks, acid jazz fusion music artist. This page includes CHICO HAMILTON's : biography, official website, pictures, videos from YouTube, related forum topics, shouts, news, tour dates and events, live auctions, online shopping sites, detailled reviews and ratings and the full discography of albums: studios, live, compilations (boxset), EPs on CD, Vinyl / LP or cassette and videos released on Blu-ray, DVD or VHS
|
en
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/faviconJMA.ico?nocache=1
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JazzMusicArchives.com
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https://www.jazzmusicarchives.com/artist/chico-hamilton
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877
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dbpedia
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1
| 49
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http://www.loc.gov/pictures/item/2016717663/
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en
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Supremes (singing trio)
|
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[
""
] | null |
[] |
1965-08-10T00:00:00
|
89 photographic prints (contact sheets). | published 2 slides : color. | unpublished ca. 800 slides : color. | Photographs show the Supremes vocal trio (Diana Ross, Mary Wilson, and Florence Ballard) at various publicity engagements; performing in concerts; rehearsing for appearances on television shows. Includes the Supremes performing on a concert stage; signing albums and photos for crowds of fans at publicity events; travelling by plane and chauffeured car to engagements with Berry Gordy, Jr.; doing their nails while waiting at the airport; trying on clothes and wigs for performances; the women relaxing and interviewing at a hotel between engagements; recording at the Motown Studios, Detroit, Mich. Also includes the women at their homes in Detroit; Wilson cooking and posing on her sofa at home; Ballard trying on clothes at her home; Ross surrounded by clothes and suitcases at home; relaxing with brother Chico; Ross, Wilson, and Ballard shopping at a clothing store; visiting a Detroit high school(?); posing in front of Motown Records with Berry Gordy and others. Also portraits of the women; Ross visiting the housing project where she grew up; Ballard holding a baby; miscellaneous photos of Judy Garland performing on stage at one of the Supreme's concerts.
Unpublished photographs show the Supremes performing at various venues; rehearsing for performance on television show Hullabaloo; in a recording studio; at a farm(?). Also the women in their homes; portraits of the individual women and the group.
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https://www.loc.gov/images/fav.ico
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https://www.loc.gov/pictures/item/2016717663/
|
Yes, the item is digitized. Please use the digital image in preference to requesting the original. All images can be viewed at a large size when you are in any reading room at the Library of Congress. In some cases, only thumbnail (small) images are available when you are outside the Library of Congress because the item is rights restricted or has not been evaluated for rights restrictions.
As a preservation measure, we generally do not serve an original item when a digital image is available. If you have a compelling reason to see the original, consult with a reference librarian. (Sometimes, the original is simply too fragile to serve. For example, glass and film photographic negatives are particularly subject to damage. They are also easier to see online where they are presented as positive images.)
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877
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dbpedia
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0
| 52
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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en
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The 100 Jazz Albums That Shook The World
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http://www.jazzwise.com/media/99695/100-jazz-albums-that-shook-the-world-new-version.jpg?anchor=center&mode=crop&width=960&height=640&rnd=132128573870000000
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2024-01-01T00:00:00
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Not just another “greatest jazz albums” list of favourite recordings and biggest sellers but a fully annotated look at the albums that actually changed jazz and changed lives
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Jazzwise
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https://www.jazzwise.com/features/article/the-100-jazz-albums-that-shook-the-world
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The list featured below was originally published in the August 2006 issue of Jazzwise magazine and quickly established itself as a key reference for anyone interested in exploring the rich history of jazz on record.
We have now taken the concept much further with a new publication – The 100 Jazz Albums That Shook The World – a 100-page definitive guide to the most important and influential jazz albums that have gone on to change and shape the course of the music from the 1920s to the present day.
The 100 Jazz Albums That Shook The World is exclusively available in print and includes new in-depth editorial on each album from Jazzwise's acclaimed team of writers, plus in-depth features on the making of the top three albums, a look at the albums that almost made the cut and a guide to buying the featured titles on LP and CD.
Order your copy today at: www.magsubscriptions.com
2006 List
100
Polar Bear: Held On The Tips of Fingers (Babel)
Sebastian Rochford (d), Pete Wareham, Mark Lockheart (ts), Tom Herbert (b), Leafcutter John (programming) plus Jonny Philips (g), Ingrid Laubrock (ts), Joe Bentley (tb), Emma Smith (v) and Hannah Marshall (c). Rec. 2004-2005
Such was the brilliance of Polar Bear’s Held On The Tips Of Fingers, the band’s second release, it almost won the 2005 Mercury Music Prize. Not only the most gifted jazz drummer of his generation, bandleader Sebastian Rochford crafted sublimely original chamber music. A stylistic crossroads where folk, avant-jazz, electronica and raw punk co-existed, Rochford’s music was aptly called “the sound of the future” even though it betrayed a love of Ellington, Monk and, yes, Napalm Death. Held On The Tips Of Fingers twisted in digital trickery to a frontline of heavyweight tenor saxophonists, dazzling with folksy anthems such as ‘Bear Town’ or the drum ’n’ bass drenched ‘Fluffy’. Groundbreaking, it gave young British jazz bands the guts to label themselves like rock bands and to stretch beyond their comfort zones. (TB)
99
The Bad Plus: These Are The Vistas (Columbia)
Ethan Iverson (p), Reid Anderson (b) and Dave King (d). Rec. 2003
Very few jazz groups today set out to mess with your head. You know, get inside there, push the furniture over, chuck things out of the window and generally make a nuisance of themselves. That’s what’s so refreshing about the Bad Plus. They barge in, do things a jazz piano trio isn’t supposed to do, such as play Blondie’s ‘Heart of Glass’ or Kurt Cobain’s ‘Smells Like Teen Spirit.’ To get inside these songs, and their own well thought-out originals, they may inflict a bit of grievous bodily harm on the musical structures, but at least they give you a musical experience you won’t forget easily. (SN)
98
Courtney Pine: Journey To The Urge Within (Antilles)
Courtney Pine (ts, ss, b-cl), Kevin Robinson (t), Ray Carless (bar s), Orphy Robinson (vb), Julian Joseph (p), Roy Carter (ky), Gary Crosby (b), Mark Mondesir (d), Cleveland Watkiss and Susaye Greene (v). Rec. 1986
Journey to the Urge Within heralded the arrival of Courtney Pine at the head of a new generation of British jazz musicians. A pied piper who led British jazz out of the trough of despond after its brilliant flowering in the 1960s, he was compared to the charismatic Wynton Marsalis in the USA as a spokesman for a new breed of technically accomplished young jazzers. Pine’s music was powerful, intense and in the tradition of the great tenor saxophonists such as Coltrane and Rollins. Figuring in the Top 40, an unprecedented achievement for a British jazz album, it went silver, helping to trigger the 1980s jazz boom. (SN)
97
Tomasz Stanko: Soul Of Things (ECM)
Tomasz Stanko (t), Marcin Wasilewski (p), Slawomir Kurkiewicz (b) and Michal Miskiewicz (d). Rec. 20I01
It could have been Stanko masterpieces Litania or Leosia that made this list, but Soul of Things, with a trio of young Polish musicians he mentored since their early teens, is his best selling album for ECM and more than any other brought him to the attention of international audiences. It also contributed to the growing awareness outside Europe, particularly in the United States, that important music was coming out of the old world. An album of precisely focused moods, fragments of melody are crafted into masterful compositions shaped by the timeless elegance of Stanko’s trumpet and the copacetic playing of his young protégés. (SN)
Buy album from Presto Music
96
Medeski, Martin and Wood: Combustication (Blue Note)
John Medeski (ky), Chris Wood (b), Billy Martin (d) and DJ Logic. Rec. 1998
Since the group’s formation in 1992, many welcomed Medeski Martin and Wood as a flight from a largely conservative jazz mainstream while others believed they’d flown the coop entirely. In their own way this Hammond B-3 organ trio of the sort that has been around in jazz for at least 50 years pushed at the boundaries of jazz with rollicking grooves and extended keyboard improvisations. This might be edgy music, but it is body music just the same, try ‘Coconut Boogaloo’ or ‘Sugar Craft’ then see if you can stop popping your fingers. As they reveal here, they delight shaking up mainstream values by going back to the chicken shack, 21st century style. (SN)
95
Wynton Marsalis: Black Codes From The Underground (Columbia)
Wynton Marsalis (t), Branford Marsalis (ss, ts), Kenny Kirkland (p), Charnett Moffett (b) and Jeff Watts (d). Rec. 1985
Black Codes marks the time in young Wynton’s career when he moved from being a Blakey/Hancock prodigy and started to stake out his own ground. This first batch of musical territory had already been trampled underfoot by various members of the Miles Davis and John Coltrane ascendancy, including both leaders, but Marsalis brings his own considerable musical personality to bear on the situation and plays with great invention throughout. He would shift from this base in future but this sets out his aesthetic stall nicely. (KS)
94
Cassandra Wilson: Blue Light ’Til Dawn (Blue Note)
Cassandra Wilson (v), Charlie Burham (vn), Brandon Ross, Gib Walton, Chris Whitley (g), Kenny Davis, Lonnie Plaxico (b), Kevin Johnson, Lance Carter, Cyro Baptista and Bill McClellan (d, perc) plus others. Rec. 1993
Female jazz vocals had gone through many false dawns between the late 1960s and the arrival of Cassandra Wilson’s blue light in 1993. Jazz and blues roots have often been vocal starting points for revivals of every type, so it’s appropriate that Wilson, with her burnished alto voice, should reach in that direction to find not only a crossover audience but establish a new consensus alongside the Great American Songbook to underpin her artistic credibility. That she has more or less continued on that path suggests it works for her on every level. It also points the way for those who follow. (KS)
93
Jan Johanssen: Jazz Pa Svenska (Megafon)
Jan Johansson (p) and Georg Riedel (b). Rec. 1962-64
A key recording that more than any other defined the Nordic Tone in jazz, a Scandinavian kind of blues that places intensity, tone, space and meaning ahead of virtuosic athleticism. Taking ages old Swedish folk melodies from Svenska Låtar and then interpreting them from a jazz perspective, Johansson’s carefully nuanced sound, the gradation of his touch, the exquisite detail of every note revealed by the meticulous recording quality captured a unique approach to jazz that has become widely influential. Players such as Mike Brecker, Tommy Smith, Jan Garbarek, Esbjörn Svensson, Tord Gustavsen all were to come under the spell of the Nordic Tone. (SN)
92
Sarah Vaughan: Sarah Vaughan (EmArcy)
Sarah Vaughan (v), Clifford Brown (t), Herbie Mann (f), Paul Quinichette (ts), Jimmy Jones (p), Joe Benjamin (b) and Roy Haynes (d). Rec. 1954
Vaughan was a by-word for vocal worship among her peers and musical associates by the late 1940s, but little she recorded before this album consistently showed her true worth to jazz. Nestled in a sympathetic small-group setting, Sassy simply blossoms into an overwhelmingly seductive artist whose complete abandonment to her own idea of line and sound gives the listener a level of ecstatic pleasure delivered only by – well, by Sassy, Ella and Billie, truth be told. She may later have equalled this in other settings, but here the gauntlet was well and truly thrown down. (KS)
91
Music Improvisation Company: Music Improvisation Company (ECM)
Jamie Muir (perc), Hugh Davies (elec), Evan Parker (ss), Derek Bailey (el g) and Christine Jeffrey (v). Rec. Aug 1970
MIC represents the point of separation between free jazz and free improv. From their perspective, a whole series of trajectories are visible – in Evan Parker’s case the use of live electronics and increasing reliance on soprano leading eventually to the Electro-Acoustic Ensemble. It marks a shift away from the creation of powerful, huge sonic edifices or of nature-imitating shapes and textures for a journey, with only a little exaggeration, into the DNA of sound itself. Less concerned with the global or cosmic, MIC explored the micro-universe through the concept of non-idiomatic improvisation. Strange, disturbing yet oddly attractive.(DH)
90
Charlie Haden: Liberation Music Orchestra (Impulse!)
Haden (b), Don Cherry, Michael Mantler (t), Roswell Rudd (tb), Bob Northern (Fr hn), Howard Johnson (tba), Perry Robinson (cl), Gato Barbieri, Dewey Redman (ts), Sam Brown (g), Carla Bley (p, arr), Paul Motian and Andrew Cyrille (d). Rec. 1969
Jazz and politics have always been entwined, but rarely in the music’s history have the links spelt out on record. The 1960s was a decade when that orthodoxy was reversed, with Charlie Haden’s debut album at the decade’s end being one of the most explicit endorsements of leftist sentiments to be found in the entire jazz world. Sentiments of any persuasion are no proof of quality, but the compositions – from Haden, Bley and Ornette Coleman, among others – are uniformly strong and the supporting cast fiercely inspired. For 40 minutes you could believe, if you wanted to. (KS)
Buy album from Presto Music
89
Jackie McLean: Let Freedom Ring (Blue Note)
Jackie McLean (as), Walter Davis (p), Herbie Lewis (b) and Billy Higgins (d). Rec. 1962
McLean had made by turns excellent and ambitious albums prior to this disc, but for one reason or another none of them had managed a completeness of conception that pushed him into the forefront of the music. This one made it through a combination of memorable compositions (‘Melody For Melonae’) an attitude towards musical freedom fed by the new politics of the day and a consistent commitment to all-out emotionalism that is so forceful it frankly leaves the rest of his group in the shade. He went on to make more completely satisfying albums but this one broke the mould. (KS)
Buy album from Presto Music
88
Joe Harriott-John Mayer Double Quintet: Indo-Jazz Suite (EMI Columbia)
Joe Harriott (as), Kenny Wheeler (t), Pat Smythe (p), Coleridge Goode (b), Allan Ganley (d), John Mayer (vn, harpsichord), Chris Taylor (f), Diwan Motihar (sitar), Chandrahas Paiganka (tambura) and Keshan Sathe (tabla). Rec. 1965
Ravi Shankar’s 1962 Improvisations, with Bud Shank, and Don Ellis’ unrecorded Hindustani Jazz Sextet from 1965 briefly pointed the way but nothing prepared you for Indo-Jazz Suite, the first full collaboration between jazz and Indian musicians that was so hip it hurt in 1966. Hailed by Melody Maker upon release as “highly provocative” it was conceived by Calcutta-born Mayer who based the pieces on the ascending and descending order of ragas with Harriott’s quintet improvising around the Indian musicians to spellbinding effect. Not as successfully integrated as their subsequent Indo-Jazz Fusions I and II, this however first put the fat in the pan for Gabor Szabo, Shakti, Trilok Gurtu, Mukta, Nitin Sawhney and the feast of Indo-Jazz that followed. (JN)
87
Django Reinhardt: Rétrospective 1934-53 (Saga)
Django Reinhardt (g), the Quintette du Hot Club de France, Loulou Gasté, Joseph Reinhardt, Emmanuel Vées (g), Louis Vola, Coleridge Goode (b), Hubert Rostaing, André Ekyan (cl), Alix Combelle (ts), Gianni Safrred (p), Aurelia de Carolis (d) and many others. Rec. 1934-1953
The great gypsy did pretty much all his recording during the pre-album age, and while he was justly honoured by the French soon after his death, most early UK vinyl releases were haphazard collations in indifferent sound. By contrast, this compact little high-quality cardsleeve box of three CDs, accompanied by a magnificent 75-page booklet in French and English which contains lavish photographs and discographical details, is by some distance the best one-step intro Django’s staggering genius. Transfers from the original 78rpm singles are magnificent and the selection of titles is absolutely on the money, from earliest Hot Club sides to his post-war experiments with shifting personnel and electrified guitars. (KS)
86
Steps Ahead: Steps Ahead (Elektra/Musician)
Michael Brecker (ts), Eliane Elias (p), Mike Mainieri (vb), Eddie Gomez (b) and Peter Erskine (d). Rec. 1983
A star-studded line-up this might have been, however, by the time they came to make their debut on an American label, Steps Ahead had forged a powerful group identity that critics were dubbing “the new acoustic fusion.” Much of this was down to a repertoire comprising original, ad hoc song forms that seldom employed straight ahead rhythms. Take ‘Both Sides of the Coin’ that uses a latin rhythm and a rondo form, whereas ‘Loxodrome’ presented an advanced contemporary vehicle for improvisation. Yet promoters would still say why not just play a 12-bar blues? Staggering really for such a perfectly poised jazz chamber group, that can take your breath away. (SN)
85
Krzysztof Komeda: Astigmatic (Polskie - Nagrania Muza)
Krzysztof Komeda (p), Tomasz Stanko (t), Zbigniew Namyslowski (as), Gunter Lenz (b) and Rune Carlson (d). Rec. 1965
Astigmatic is one of the most important contributions to the shaping of a European aesthetic in jazz composition. Stanko himself has said that this is an album that could “never have been made in America”, pointing to Komeda’s day job as a composer for more than 40 films. “Film dictates untypical construction,” Stanko has recalled. Indeed, the quintet responds to Komeda’s compositions with audible glee – there is measured intensity here but also the unmistakable glow of inspiration. (SN)
84
Anthony Braxton: For Alto (Delmark)
Anthony Braxton (as). Rec. 1969
While the song titles – dedications to innovative musicians such as John Cage, Cecil Taylor and Leroy Jenkins – gave a clear indication of where the Association For The Advancement Of Creative Musicians iconoclast was coming from, few could have seen where, or rather how far, he was going on this landmark solo recital. Braxton’s alto saxophone is like the sound of acid dripped from the beating wings of hummingbirds, a charmingly corrosive caress. Through brilliant dynamics, lyricism, harmonic invention and pure sound trickery, Braxton showed a single horn could be a complete orchestra, paving the way for similar undertakings by Sonny Rollins among others years later. Downbeat awarded For Alto five stars and called it “revolutionary.” They were right. (KLG)
83
Diana Krall: Love Scenes (Impulse!)
Diana Krall (v, p), Russell Malone (g) and Christian McBride (b).
Rec. 1997Where would female jazz vocals be today without Diana Krall? An imponderable, perhaps, especially when so many undistinguished vocalists currently populate the landscape. However, Krall is the genuine article on every level, whether you’re talking about texture, taste, integrity, inventiveness or musicianship. Whatever setting she’s chosen for herself in the past decade, it’s been apposite. Love Scenes was a trio album and presaged her massive with-orchestra crossover, but it contains all the essential Krall ingredients and is a thorough convincing artistic manifesto. No wonder people listened. (KS)
Buy album from Presto Music
82
Steve Coleman And Five Elements: The Tao Of Mad Phat: Fringe Zones (RCA/Novus)
Steve Coleman (as), Andy Milne (p, ky) David Gilmore (g), Reggie Washington (el b), Roy Hargrove (t), Josh Roseman (tb), Kenny Davis (b) and Junior “Gabu” Wedderburn (perc). Rec. 1993
Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)
81
Eberhard Weber: The Colours of Chloë (ECM)
Weber (b, cello, ocarina), Rainer Bruninghaus (p, syn), Ack van Rooyen (flhn), Peter Giger, Ralf Hübner (d, perc), and the cellos of the Südfunk Orchestra Stuttgart. Rec. 1973
Eberhard Weber’s debut album was one of the most significant opening volleys of ECM’s arrival in the jazz world as an arbiter of modern taste. Completely devoid of any of the fashionable Americanisms of the day, its music was full of light and colour derived from European modernist classical and film traditions. As such, it offered a completely fresh pool of delights to fish in. Using his sinuous bass technique to articulate melody as no-one else had before, Weber alternated a sumptuously severe string backing with little keyboard and percussion patterns to huge atmospheric effect. Entrancing. (KS)
Buy album from Presto Music
80
John Surman: Tales Of The Algonquin (Deram)
John Surman (bs, ss), John Warren (bs, f), Mike Osborne (as, cl), Alan Skidmore (ts, fl), Kenny Wheeler, Harry Beckett (t, flhn), John Taylor (p), Barre Phillips, Harry Miller (b), Alan Jackson and Stu Martin (d). Rec. 1971
As much Canadian John Warren’s album as fellow baritone player John Surman’s, this record said that Surman was a star in the ascendant. So many UK jazz albums could fill this slot but this gets the vote for its ecstatic, exuberant playing from Surman and company and amazing, challenging writing from Warren. This was a glorious testament to the new-found confidence of British jazz. Warren’s success lies in the way he remains within the big band tradition but extends it by incorporating elements of free playing, driving powerful polyrhythms and complex layering of his instrumental resources. An absolute and indisputable joy. (DH)
79
Oliver Nelson: The Blues And The Abstract Truth (Impulse!)
Oliver Nelson (as, ts), Freddie Hubbard (t), Eric Dolphy (f, as, bcl), George Barrow (bar s), Bill Evans (p), Paul Chambers (b) and Roy Haynes (d). Rec. 1961
For almost all his career Nelson was a hugely talented journeyman musician who did everything well and not a great deal memorably. This is the exception. Helped by a cast that included Freddie Hubbard, Eric Dolphy and Bill Evans, Nelson delivered a set of profound meditations on the blues (including ‘Stolen Moments’) and then backed that up by playing the tenor saxophone with such force and inventiveness that he stood as an equal with the heavyweights listed above. In managing it even once he at least gave us a stone classic modern jazz blues and roots album that is free of all hard bop cliché. (KS)
Buy album from Presto Music
78
Betty Carter: The Audience With Betty Carter (Betcar)
Betty Carter (v), John Hicks (p), Curtis Lundy (b) and Kenny Washington (d). Rec. 1979
Listening to this album is a cathartic experience. ‘Sounds’ is a tour de force of scat through shifting tempos and meters that lasts 25 minutes where at one point, Carter, Hicks, Lundy and Washington each play in a different meter. The album highlight is ‘My Favorite Things’ taken at a brisk tempo with Hicks at his most explosive as his accompaniment blossoms into a counterline to Carter’s singing and by the coda who can say whether voice or piano predominates? To say this is one of the finest jazz vocal albums ever made is limiting; it numbers among the great contemporary jazz albums. (SN)
77
Art Tatum: The Genius of Art Tatum No.1 (Clef 1953)
Art Tatum (p). Rec. 1953
For decades Tatum was every jazz pianist’s first choice as the greatest piano of all but by the early 1950s his public profile was still minute compared with some of his contemporaries. Norman Granz decided to fix that: between 1953 and Tatum’s death in 1956 Granz recorded well over 200 selections and issued them on Clef and Verve. Tatum’s popular and critical reputation has been secure ever since, his baroque creations simultaneously exciting and terrifying the listener. This first of the series is a solo recital. All the Tatum Clefs and Verves are now available on Granz’s last-owned label, Pablo. (KS)
76
Charles Lloyd: Dream Weaver (Atlantic)
Charles Lloyd (ts, f), Keith Jarrett (p), Cecil McBee (b) and Jack DeJohnette (d). Rec. 1966
Voted “new star” by Downbeat in 1965, the emergence of the Charles Lloyd Quartet took jazz by storm in 1966, expanding musical horizons with a challenging eclectic amalgam of modal and free jazz with Eastern textures and Spanish soul. Dream Weaver also introduced Keith Jarrett and Jack DeJohnette to the world before Lloyd’s subsequent LPs Forest Flower and Love-In became two of jazz’s biggest sellers. However, this was the album that first got tongues wagging, echoing the free spirit of the psychedelic 1960s and landing them an early slot at The Fillmore. Miles noticed too, quickly snatching Jarrett and DeJohnette for his own jazz-rock experiments that ushered in the dawn of a new era. (JN)
Buy album from Presto Music
75
Oscar Peterson: Night Train (Verve)
Oscar Peterson (p), Ray Brown b) and Ed Thigpen (d). Rec. 1962
By 1962 Peterson’s trio was one of the top draws in jazz worldwide and Peterson himself habitually won every jazz piano popularity poll going. Why? Well, the change in 1958 from piano-bass-guitar to piano-bass-drums had allowed him room to develop the group’s leaner, grittier side and emphasise melody rather than bullish pyrotechnics. Night Train is the epitome of this approach: cool, funky, incredibly concentrated and well thought-through, it hangs together as a perfect modernist tribute to the funky roots of jazz, covering tracks from ‘C Jam Blues’ to ‘Moten Swing’ and ‘The Hucklebuck’. Canadiana Suite may be Peterson’s creative high water point, but Night Train defines him. (KS)
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74
Herbie Hancock: The New Standard (Verve)
Herbie Hancock (p), Michael Brecker (ts), John Scofield (g), Dave Holland (b), Jack DeJohnette (d) and Don Alias (perc). Rec. 1996
From the opening ‘New York Minute’ this album bursts with energy and creativity. Hancock soars and Brecker burns. Yet while the playing is exemplary, the choice of repertoire makes this album stand apart. ‘New York Minute’ is from the Don Henley album The End of The Innocence and songs by the likes of Steely Dan, Peter Gabriel, Paul Simon and Prince make this one of the first albums after 1990 to return to songs from popular culture once more as a basis for jazz improvisation. Yet they all end up as impeccable, burning New York-style jazz of the highest order and press the green light for other artists to follow suit. (SN)
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73
Roland Kirk: Rip, Rig & Panic (Limelight)
Roland Kirk (f, mzo, stritch, ts), Jaki Byard (p), Richard Davis (b) and Elvin Jones (d). Rec. 1965
Many maintain that Kirk never made the perfect album: if so, this one comes closer than any other, mostly because Elvin Jones is consistently lighting a fire under the quartet generally and Kirk in particular. The multi-reed man is also self-evidently inspired by pianist Jaki Byard’s playing and is consistently taking risks in everything he’s doing. I Talk With The Spirits, his flute album, came next and gave the world ‘Serenade to a Cuckoo’, while 1968’s Volunteered Slavery allowed Kirk to assault Burt Bacharach among others while giving him a new audience, but this one is the stone jazzer’s delight. (KS)
72
Thelonious Monk: The Genius Of Modern Music, Vol. 1 (Blue Note)
Thelonious Monk (p), Idrees Sulieman/George Taitt (t), Danny Quebec West/Sahib Shihab (as), Billy Smith (ts), Gene Ramey/Bob Paige (b) and Art Blakey (d). Rec. 1947
These early Monk sides almost sank without trace when first issued as 78rpm singles, and it was only because of a LP selection under this title in the mid-1950s that more than a handful of punters took any notice. Blue Note, though, were so into Monk that they’d done these three sessions in little more than a month, just to get the first small-group versions of ‘Round Midnight’, ‘Ruby My Dear’, ‘Thelonious’ and ‘In Walked Bud’ among others. With the possible exception of Idrees, the soloists weren’t up to the pianist’s level. Yet the miraculous Blakey is at his early best. (BP)
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71
Wayne Shorter: Speak No Evil (Blue Note)
Wayne Shorter (ts), Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d). Rec. 1964
Recorded a few months into his stint with Miles, this date finds Shorter on the cusp of his mature compositional and improvisatory styles and in the congenial company of Hancock and Carter, with Elvin Jones keeping it honest at the back and Hubbard providing his usual perfect foil at the front. In a sense this is Shorter’s essay on groove, but his angularity never makes it likely that the whole album would attain that ineffable level, or that he’d even want that. Herbie, of course, would do it without him a few months later on Maiden Voyage. So? Vive le difference, we say… (KS)
Feature: Wayne Shorter – Music of the Spheres
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70
Dollar Brand (Abdullah Ibrahim): African Marketplace (Elektra/Musician)
Dollar Brand (Abdullah Ibrahim) (ss, kys, p), Gary Chandler (t), Malindi Blyth Mbityana, Craig Harris (tb), Carlos Ward (as), Jeff Jaywarrah King, Dwayne Armstrong (ts), Kenny Rogers (bs), Lawrence Lucie (bjo), Cecil McBee (b), Miguel Pomier and Andre Strobert (d, perc). Rec. 1980
Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)
69
Stan Tracey: Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood (EMI/Columbia)
Stan Tracey (p), Bobby Wellins (ts), Jeff Clyne (b) and Jackie Dougan (d). Rec. 8 May 1965
Tracey is indispensable, a one-man mission statement. Here he showed how much could be achieved within the basic jazz quartet format. Reaction at the time seems to have been along the lines of where on earth did this come from? Coherent, vital and mind-stretching, Tracey’s eight pieces provide a remarkable insight into Thomas’ great work but also into the creative process itself and the myriad sources jazz could explore for inspiration. With its jaunty, picaresque tunes and assured playing that reflected Thomas’ saucy, roguish book, the album is a wonderfully humorous work that extended the boundaries in a hugely subtle way. After this, there would always be more to jazz than just blowing. (DH)
68
Esbjörn Svensson Trio: From Gagarin’s Point Of View (ACT)
Esbjörn Svensson (p), Dan Berglund (b) and Magnus Öström (d). Rec. 1999
It was not as if the Esbjörn Svensson Trio came out of nowhere. They’ve been around since 1991 refining a distinctive collective voice that prompted a name change to EST. It took the UK, who habitually look to the USA for its jazz heroes, longer than most European countries to come under their spell, but this is the album that did it. Their attachment to deeply felt melody, unhurried intensity, framed with the Nordic Tone, and the comparatively unconventional, pop-like structures of their compositions endeared them to jazz and non-jazz fans alike, in the honest humanity of their playing. (SN)
Feature EST – Three Falling Three
67
John Handy: Live At Monterey Jazz Festival (Columbia)
John Handy (as), Mike White (el vn), Jerry Hahn (g), Don Thompson (b) and Terry Clarke (d). Rec. 1965
Fresh from the Charles Mingus band, Handy tore Monterey apart in September 1965 with this startling hypnotic modal performance that got him signed to Columbia, sending shock waves out to Charles Lloyd, Gabor Szabo, Miles Davis and John McLaughlin. Rooted in the free flow of Coltrane’s classic quintet with Eric Dolphy, the two side-long pieces open with Handy’s mesmerising unaccompanied alto statement that, four decades later still sends shivers, before Hahn and White erupt into fiery flamenco, middle eastern and rock-tinged directions unheard of at the time. Little wonder that in December 1965 they were the first jazz act ever to play San Francisco’s legendary Fillmore Auditorium paving the way for The Fourth Way and the sonic zeitgeist that followed. (JN)
66
Gil Evans: The Individualism of Gil Evans (Verve)
Gil Evans (p, arr, comp) with, among others, Johnny Coles, Ernie Royal, Thad Jones, Bernie Glow (t), Frank Rehak, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b) and Elvin Jones (d). Rec. 1963-4
A diffident self-promoter, Evans was only rarely coaxed into the recording studios to deliver albums that reflected fully his own musical visions away from the stars he wrapped in his sonic delights. This album is his most ambitious and deeply satisfying, covering his love of Kurt Weill, the blues, Spanish music and swaggering self-penned pieces, all of them dripping in the translucent arrangements that make you feel you’ve entered a uniquely magical musical land the moment the orchestra makes a sound. Seamlessly featuring soloists like Wayne Shorter, Johnny Coles and Phil Woods, this album is pure musical alchemy from a total original. The CD is a happily expanded version of the original vinyl, adding 27 minutes of excellent previously unreleased new music. (KS)
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65
Gerry Mulligan: Gerry Mulligan Quartet (Pacific Jazz)
Gerry Milligan (bar s), Chet Baker (t), Bobby Whitlock (b) and Chico Hamilton (d). Rec. 1952
Mulligan first made a significant contribution to recorded jazz through his arrangements for Miles’ so-called Birth of the Cool sessions for Capitol, but it was the 1952 pianoless quartet that hit the headlines and made him (as well as trumpeter sidekick Chet Baker) virtually overnight jazz celebrities. This album covers the initial (and best) sides the Mulligan Quartet cut, for Pacific Jazz, including ‘Bernie’s Tune’, ‘Freeway’ and ‘Walkin’ Shoes’, where the uncanny empathy between Mulligan and Baker is constantly underlined by the firmly resilient beat of Chico Hamilton. West coast jazz in its infancy and at its most joyously infectious. This is a Japanese CD reissue which more than doubles the original vinyl playing time. (KS)
64
Brad Mehldau: Art Of The Trio Vol.3 (Warner)
Brad Mehldau (p), Larry Grenadier (b) and Jorge Rossy (d). Rec. 1998
Voted best jazz album of 1998 by The Guardian and part three of a musical odyssey that comprises five volumes stretching from 1996-2000. More so than his previous albums, this was the one that put him on the map, as much for a version of ‘Exit Music (For A Film)’ that turned Radiohead into Beethoven as his deeply haunting version of Nick Drake’s ‘River Man’ that hipped a legion of young jazzers to two fresh new sources of repertoire. Here Mehldau’s improvisations appear as variations upon variations upon variations, remote from their source maybe but entirely personal. In the process they lay to rest Bill Evans soundalike comparisons once and for all. (SN)
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63
Archie Shepp: Four For Trane (Impulse!)
Archie Shepp (ts, arr), Alan Shorter (flhn), Roswell Rudd (tb), John Tchicai (as), Reggie Workman (b) and Charles Moffett (d). Rec. 1964
Shepp was a member of Cecil Taylor’s 1960/1 unit that cut sides for Candid and Impulse!, but his first mature playing on disc is on the virtually unobtainable 1962 Archie Shepp – Bill Dixon Quartet album released on Savoy. Four For Trane demonstrates not only a shift in allegiance to Coltrane but a real gift for arrangement and a thoroughly original approach to his own playing at a time when everyone was copying Trane or Rollins. He may have got more radical later, but this was a 100 per cent proof shot of the new on its initial release. (KS)
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62
Count Basie: The Atomic Mr Basie (Roulette)
Count Basie (p), Thad Jones, Joe Newman, Wendell Culley, Snooky Young (t), Benny Powell, Henry Coker, Al Grey (tb), Marshall Royal (as, cl), Frank Wess (as, ts), Frank Foster, Eddie “Lockjaw” Davis (ts), Charlie Fowlkes (bar s), Freddie Green (g), Eddie Jones (b), Sonny Payne (d) and Neal Hefti (arr). Rec. 1957
First issued simply as Basie and illustrated with “a tasteful” mushroom cloud it certainly had an explosive enough impact as it was his first album to capture the rich ensemble sound as well as the beat. Some of the charts wear better than others, but the overall feel is timeless. ‘Kid From Red Bank’ featuring stride piano from the leader and ‘Whirly-Bird’’s shouting tenor saxophone by Lockjaw epitomise the uptempos, while ‘Splanky’ and Newman-and-Thad’s ‘Duet’ do it for the blues. And ‘Li’l Darlin‚’ proves emphatically that smoochy doesn’t have to mean smoo-ooth. (BP)
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61
Miles Davis: Birth of the Cool (Capitol)
Miles Davis (t), Lee Konitz (as), Gerry Mulligan (bar s), JJ Johnson (tb), Kai Winding (tb), Junior Collins (Fr hn), Gunther Schuller (Fr hn), Sandy Siegelstein (Fr hn), Billy Barber (tba), John Barber (tba), Nelson Boyd (b), Joe Shulman (b), Al McKibbon (b), Al Haig (p), John Lewis (p), Kenny Clarke (d), Max Roach (d), Gil Evans (arr), Johnny Carisi (arr) and Kenny Hagood (v). Rec. 1949-50
The wonder of Miles’ career is the sheer amount of times he seized the moment, grabbed the right people, and got them to deliver their best creative thoughts for him. The first time was with Charlie Parker, but by the time he landed a contract with Capitol for some modern jazz sides with an augmented group, he was able to operate freely, pulling in the restless writing talents of Gil Evans, John Lewis, Gerry Mulligan and John Carisi to create a unified and superbly subtle backdrop for his emergent lyricism. The world is changed, part one. (KS)
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60
Peter Brötzmann Octet: Machine Gun (FMP)
Peter Brötzmann (ts, bar s), Evan Parker, Willem Breuker (ts), Fred Van Hove (p), Peter Kowald, Buschi Niebergall (b), Han Bennink and Sven Johansson (d). Rec. May 1968
Political statement, samizdat reflection on events or Janovian primal scream? Surely one of the most extreme albums ever recorded it’s a musical manifesto from the European free jazz underground, an answering call to like-minds across the Atlantic and rallying cry for those at home. The title track features “solos” by the three horn players and pianist Van Hove, each as ferocious as the other. ‘Responsible’, for all its atonal howling, ends with a fabulous latin vamp while ‘Music For Han Bennink’ squeals and yelps with joy. Machine Gun leaves you shaken to the core. (DH)
59
Coleman Hawkins: Body And Soul (RCA Bluebird)
Hawkins (ts) and many others. Rec. 1939-56
The trouble with Hawk is the same one faced by someone looking for an ideal single-set introduction to maverick genius Sidney Bechet – in such a long and protean career, how do you get all the best bits on one label? With Bechet it’s still impossible. With Hawk, you can just about do it. The great man’s original ‘Body And Soul’ masterpiece from 1939 is here, plus a telling number of tracks showing how he paced all the changes in jazz with ease and continued to grow artistically through the decades. The best of the later Hawk is on Verve, but this intro is nicely rounded. (KS)
58
Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach (EmArcy)
Brown (t), Harold Land (ts), Richie Powell (p), George Morrow (b) and Max Roach (d). Rec. 1954
Timing is everything. For two years this group was the cutting edge of modern jazz: by spring 1956 they had Sonny Rollins as the resident tenor alongside Clifford Brown’s dazzlingly innovative trumpet: Miles and Coltrane were still playing catch-up in their quintet. Then, a car crash claimed Brown and pianist Richie Powell and it was all over. This powerful set, containing classic interpretations of post-bop standards such as ‘Daahaud’, ‘Joy Spring’ and ‘Parisienne Thoroughfare’ is still the starting-point for post-Parker bop and mandatory listening for any subsequent trumpeter. The CD contains two alternative takes adding 10 more minutes of music. (KS)
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57
Horace Silver: Song For My Father (Blue Note)
Silver (p), Blue Mitchell, Carmell Jones (t), Junior Cook, Joe Henderson (ts), Gene Taylor, Teddy Smith (b), Roy Brooks and Roger Humphries (d). Rec. 1963-64
For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)
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56
Art Ensemble of Chicago: A Jackson in Your House (BYG/Actuel)
Lester Bowie (t, flhn, perc), Roscoe Mitchell (ss, as, bs, cl, fl, whistles, steel drum, perc), Joseph Jarman (ss, as, cl, oboe, mba, siren, g) and Malachi Favors (b, el b, banjo, log drum and perc). Rec. 1969
A spin on a fairground carousel that nevertheless stays on the side of art rather than entertainment. This was the record that showed that the sonic riot of the avant-garde wasn’t incompatible with riotous humour. Using anything from Dixieland riffs to bluesy drawls to classical intermezzi, AEoC create a mix-tape in which tempo, mood and idiom become shifting sands on a strange and beautiful landscape. Imagine William Burroughs cutting up sheet music instead of text and having skilled players somehow make the fragments sound coherent. A deeply subversive but sophisticated work that must have been highly informative to anyone from Zappa to Zorn. (KLG)
55
John Coltrane: Ascension (Impulse!)
Coltrane (ts), Freddie Hubbard, Dewey Johnson (t), John Tchicai, Marion Brown (as), Archie Shepp, Pharoah Sanders (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1965
Still an unruly, flawed, controversial, and deeply divisive album 40 years after its initial release, Ascension set the pace and the tone of the avant-garde music debate right through the back of the 1960s, quickly becoming a cutting-edge touchstone across the arts – even John Lennon told interviewers “of course I’ve heard Ascension” when asserting his late 1960s intellectual credentials alongside Yoko. Today, the music remains testingly difficult, the hell-hot fire and chaos from Trane’s supporting musicians a clear indication of the times it was made in, yet it’s a titanic date that changed jazz forever. (KS)
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54
Lester Young: Lester Young/Buddy Rich Trio (Verve)
Young (ts), Nat King Cole (p) and Buddy Rich (d). Rec. 1946
Young was past his creative peak by the time vinyl LPs became the norm for recording purposes, but luckily a young Norman Granz snuck this session in during 1946 while Young was signed elsewhere, then sat on it until he signed Young himself in 1952. It catches Young in absolute peak mid-career form, accompanied by Nat King Cole on piano and Buddy Rich on drums. With the spotlight for once firmly on Young himself, the intimate date exhibits all Young’s soul, elusive melodic and rhythmic invention, down-home drive and unearthly delicacy and shows just why he was Charlie Parker’s early idol. (KS)
53
Pharoah Sanders: Karma (Impulse!)
Sanders (ts) Leon Thomas (v, perc), James Spaulding (fl), Julius Watkins (Fr hn), Lonnie Liston Smith (p), Richard Davis, Reggie Workman, Ron Carter (b), Freddie Waits, William Hart (d) and Nathaniel Betis (perc). Rec. 1969
What a sleeve! The saxophonist’s meditative pose against a hazy burnt orange sun posits Karma as a healing sound for love children alarmed by the bomb, the bullet and the ballot. Coming out of the universal consciousness of mentor John Coltrane and borrowing some of the celestial majesty of his widow Alice, Sanders gets modal-hymnal on the enduring ‘The Creator Has A Master Plan’ and dazzlingly abstract on ‘Colors’. These heady cosmic grooves fed the creative fire of anyone from Roy Ayers to Lonnie Liston Smith in the 1970s and inspired the more discerning purveyors of pro-tools instrumental music such as The Cinematic Orchestra in the millennium. (KLG)
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52
John McLaughlin: Extrapolation (Marmalade)
John McLaughlin (g), John Surman (bs, ss), Brian Odges (b) and Tony Oxley (d). Rec. 1969
The 1960s was a decade when British jazz emerged with a strong identity with classic albums from the likes of Mike Westbrook, Michael Garrick, Don Rendell-Ian Carr Quintet and Mike Gibbs to name but a few. But Extrapolation is the most prophetic, not only as a stepping stone in McLaughlin’s career – from Extrapolation to Tony Williams’ Lifetime to Bitches Brew to the Mahavishnu Orchestra are indeed surprisingly small strides – but for how change in jazz in the late 1960s and early 1970s would shape up. This mixture of freedom (often “time, no changes”) and structure as well as the increasing sense of identity in McLaughlin’s playing framed by Surman and Oxley make for compelling listening. (SN)
51
John Zorn: Naked City (Elektra/Nonesuch)
John Zorn (as), Bill Frisell (g), Wayne Horvitz (ky), Fred Frith (b) and Joey Baron (d). Rec. 1989
This is a superb example of post modern jazz. Zorn, the arch post modernist, expropriated practices, fragments and signifiers of different, sometimes alien music and relocated them within his own brash expressionism. Thus there’s fleeting references to jazz, blues, surf guitars, film noir moods, country music plus short, sharp noise shocks all made possible by Bill Frisell’s versatile guitar. Using segue-like channel zapping on TV, one mood is thrust in harsh disjunction with another. The only thing certain about postmodernism is uncertainty, so we should pay attention to this music, because uncertainty in an uncertain world is shaping all of us. (SN)
50
Lennie Tristano: Tristano (Atlantic)
Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). Rec. 1955
Theorist, teacher, creative thinker and virtuoso pianist, Tristano had advanced and very firmly held views about what constituted good playing practice. He expected his musicians to adhere to such views and accept whatever discipline he imposed. That it worked for others can be heard in Lee Konitz and Warne Marsh, and that it was influential can be discerned through Bill Evans’s absorption of Tristano’s methods. But Tristano’s own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, ‘Requiem’, and his controversial multi-tracking of his own piano lines, ‘Line Up’, providing a brief moment when everyone sat up and took notice. (KS)
49
Dizzy Gillespie: Shaw ’Nuff (Musicraft)
Gillespie (t), Charlie Parker, Sonny Stitt (as), Dexter Gordon (ts), Clyde Hart, John Lewis, Frank Paparelli (p), Milt Jackson (vb), Chuck Wayne (g), Ray Brown, Curly Russell, Slam Stewart (b), Sid Catlett, Kenny Clarke, Cozy Cole, Shelly Manne (d) and Sarah Vaughan (v) plus many others. Rec. 1945-6
Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)
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48
Sun Ra: The Heliocentric Worlds of Sun Ra Volume 1 (ESP-Disk)
Sun Ra (p, mba, cel, perc), Chris Capers (t), Teddy Nance (tb), Bernard Pettaway (b tb), Danny Davis (f, as), Marshall Allen (picc, as, perc), Robert Cummings (bcl, perc), John Gilmore (ts, perc), Pat Patrick (bs, perc), Ronnie Boykins (b) and Jimhmi Johnson (perc). Rec. 1965
Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)
47
Sonny Rollins: The Bridge (RCA Victor)
Rollins (ts), Jim Hall (g), Bob Cranshaw (b), Ben Riley and Harry Saunders (d). Rec. 1962
There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)
Feature Sonny Rollins: Albums That Shook The World
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46
Andrew Hill: Point of Departure (Blue Note)
Hill (p), Kenny Dorham (t), Eric Dolphy (f, as, bcl), Joe Henderson (ts, f), Richard Davis (b) and Tony Williams (d). Rec. 1964
Hill’s is of course a multi-faced talent – a brilliant pianist and improviser, he is also one of jazz’s outstanding composer-arrangers. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late 1920s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed. Depending on which CD version you come across this can be a straight version of the vinyl original or contain two extra alternative takes. (KS)
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45
John Coltrane: Impressions (Impulse!)
Coltrane (ss, ts), Eric Dolphy (bcl, as), McCoy Tyner (p), Reggie Workman, Art Davis, Jimmy Garrison (b) and Elvin Jones (d). Rec. 1961 and 1963
This was Coltrane’s second scoop into the Aladdin’s cave of music he’d made at the Village Vanguard in November 1961. The first, released as At The Village Vanguard in 1962, had whipped up a storm of criticism and, through the blues ‘Chasin’ The Trane’, served notice to a new generation about the music to come. This one went even further – India threw open the floodgates to the east in jazz, while ‘Impressions’ is 14 minutes of solid gold inspiration from Trane and Elvin. The 1963 studio fillers, ‘Up Against The Wall’ and ‘After The Rain’, are two exquisite musical punctuation points. (KS)
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44
George Russell: The Jazz Workshop (RCA Victor)
George Russell (comp, arr, boombams), Art Farmer (t), Hal McKusick (as, f), Barry Galbraith (g), Bill Evans (p), Milt Hinton, Teddy Kotick (b), Joe Harris, Paul Motian and Osie Johnson (d). Rec. 1956
One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz (and Bill Evans) en route. Strange new harmonies, polyrhythms, pantonality and extended composition – with Russell and Gil Evans, jazz just became a complete new zone of potentialities. More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. (DH)
43
Miles Davis: Sketches Of Spain (Columbia)
Davis (t, flhn), orchestra and Gil Evans (cond, arr). Rec. 1960
Miles already had two bona-fide large-group masterpieces for Columbia down in the plus column with Miles Ahead and Porgy & Bess by the time he and Gil Evans assembled this finely-drawn re-workings of classical pieces of music generally associated with Spain. At its core is the brooding central movement from Rodrigo’s Concierto de Aranjuez, but the poignant lyricism and incandescent colours Miles and Gil invest the other pieces, including a rare Evans original, with a singularity of vision and intent that makes this a burningly bright and unified achievement. Once more they’d broken the mould, for themselves and everyone else. (KS)
Review Miles Davis – Sketches Of Spain (50th Anniversary Edition) ★★★★★
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42
Stan Getz: Focus (Verve)
Getz (ts), Roy Haynes (d), chamber string group and Hershey Kay (cond). Rec. 1961
Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers. Getz’s commission to his favourite arranger/composer Eddie Sauter was completely open-ended. What Sauter delivered was a suite that stood up as music independently of anything Getz might add melodically but that left him plenty of room to create the most gorgeous tapestry of sound and emotion, interweaving between all the richness of Sauter’s lean, expressive scores. Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe. (KS)
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41
Chick Corea: Return To Forever (ECM)
Corea (el p), Joe Farrell (f, ss), Stanley Clarke (el b), Airto Moreira (d, perc) and Flora Purim (v). Rec. 1972
By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the élan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)
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40
Billie Holiday: At JATP (Clef/Verve)
Holiday (v), Howard McGhee, Buck Clayton (t), Trummy Young (tb),Willie Smith (as), Illinois Jacquet, Wardell Gray, Coleman Hawkins, Lester Young (ts), Milt Raskin, Ken Kersey, Tommy Tucker (p), Charles Mingus, Al McKibbon (b), J.C. Heard and Jackie Mills (d). Rec. 1945-47
People call Billie Holiday THE voice of jazz. However, her discography on vinyl is convoluted: her 1930s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the 1960s to appear in any ordered way and the 1990s to appear substantially on CD. Ditto her 1940s Deccas. By the time she settled with Verve in 1952 her voice had darkened and lost its suppleness. This set of live performances from the mid-40s, however, finds her in good musicianly company, vocally at a peak and expressively in the mood to sweep all before her across a classic selection of material, including ‘Strange Fruit’ and ‘Billie’s Blues’. The CD configuration more than doubles the amount of material originally available on vinyl, though the sound quality on some of the “new” tracks is not exactly brilliant. (KS)
39
Tony Williams Lifetime: Emergency! (Polydor)
Tony Williams (d), Larry Young (org) and John McLaughlin (g). Rec. 1969.
This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. Today, the mere mention of jazz-rock prompts cries from establishment critics of “sell-out,” but if this is selling-out, then maybe they should consider another line of work. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it. (SN)
38
Cannonball Adderley: Somethin’ Else (Blue Note)
Adderley (as), Miles Davis (t), Hank Jones (p), Sam Jones (b) and Art Blakey (d). Rec. 1959
Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. In a sense it was a vale to what had passed between the altoist and Miles Davis during the time they shared the bandstand in the Miles Davis Sextet, complete with Miles’ compulsive borrowings from Ahmad Jamal and the delicate balance struck between the beautiful simplicity of the emerging modernist simplicity and Cannon’s natural ebullience. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. The Blue Note RVG version contain an extra track from this session. (KS)
Review Cannonball Adderley – Somethin' Else
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37
Charles Mingus: The Black Saint And The Sinner Lady (Impulse!)
Rolf Ericson, Richard Williams (t), Quentin Jackson (tb), Don Butterfield (tba), Jerome Richardson (fl, ss, bar s), Dick Hafer (fl, ts), Charlie Mariano (as), Jaki Byard (p), Jay Berliner (g), Charles Mingus (b, p) and Dannie Richmond (d). Rec. 1963
Maybe you have to acquire a taste for Mingus before getting to this, but I’ve known people with significant non-Mingus backgrounds fall headlong for it at first hearing. Whether you come from Ellington or from Coltrane or from blues-bands, there’s stuff from this almost continuous suite to captivate you. Even techno fans – no sampling as such – will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano (later of ECM and all points east), and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself. (BP)
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36
Ella Fitzgerald: Sings The Cole Porter Songbook (Verve)
Fitzgerald (v) and the Buddy Bregman Orchestra. Rec. 1956
Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until 1956 to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them (initially as volumes one and two) on an unsuspecting but quickly enraptured public. The idea caught on and Ella kept doing composer songbooks well into the 1960s. Nobody did it better, even though it could be said that Sinatra’s studious avoidance of such anthologies produced the greater individual legacy. (KS)
Feature Ella Fitzgerald: essential recordings
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35
Duke Ellington: Ellington At Newport (Columbia)
Ellington (p), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (t), Britt Woodman, Quentin Jackson, John Sanders (tb), Johnny Hodges, Russell Procope (as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bar s), Jimmy Woode (b) and Sam Woodyard (d). Rec. 1956
Ellington often acknowledged that the 1956 Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. Apart from the on-site near-riot after the conclusion of ‘Diminuendo And Crescendo in Blue’, this is a well-paced record for a lounge-chair audience wanting to know what the excitement was all about. The fact that 60 per cent of the original (including just about all of The Festival Suite) was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later. The original vinyl had just three tracks: this was also the original CD configuration. A later two-CD version combines much improved sound with the complete festival appearance, plus studio extras. (KS)
Feature: Such Sweet Thunder: inside Duke Ellington's literary world
34
Woody Herman: The Thundering Herds (Columbia)
Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reeds), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rowles (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Tough and Don Lamond (d). Rec. 1945-47
The 1945-47 Herman bands – they came to be known as the First and Second Herds – were 1940s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough. This set, first pulled together on vinyl in the 1960s and re-jigged many times on LP and CD since, preserves the best of a truly great big band and its leader. (KS)
33
Jan Garbarek: Afric Pepperbird (ECM)
Jan Garbarek (ts, fl), Terje Rypdal (g), Arild Andersen (b) and Jon Christensen (d). Rec. 1970
From the opening track ‘Scarabee’, the jazz world outside Scandinavia was introduced to a Nordic sensibility in jazz, the Nordic Tone. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. Garbarek combines the intensity of Albert Ayler and the economy of Dexter Gordon but reinscribes them with Nordic folkloric allusions, to produce, in producer Manfred Eicher’s words “an alternative to the American approach to jazz,” an approach he champions to this day. (SN)
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32
Jimmy Smith: A New Sound, A New Star (Blue Note)
Smith (org), Thornel Schwartz (g), Bay Perry and Donald Bailey (d). Rec. 1956
It’s that simple: Jimmy Smith invented modern jazz organ and this is the album (in fact, volume one of two quickly-released volumes recorded at the same February 1956 sessions) where he announced his arrival. From the off, Blue Note was looking for commercial success and his version of ‘The Champ’, though not the first Jimmy Smith Blue Note single (on Volume two rather than Volume one), delivered big time. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade. (KS)
31
Pat Metheny: Bright Size Life (ECM)
Pat Metheny (g), Jaco Pastorius (b) and Bob Moses (d). Rec. 1975
The first blooming of Metheny’s great talent as a recording artist in his own right came with this stunning trio which he led while teaching at Berklee School of Music and a member of Gary Burton’s group of the day. At this stage of career (he was 21) Metheny indulged Pastorius somersaulting on to the stage and doing back flips off his speaker cabinet, and this mixture of Pastorius’ exuberance and Metheny’s intensity, moderated by the impeccable taste of Bob Moses lends a freshness to this album that makes it seem as if it were recorded yesterday. (SN)
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30
Stan Getz/Joao Gilberto: Getz/Gilberto (Verve)
Getz (ts), Joao Gilberto (v, g), Antonio Carlos Jobim (p), Tommy Williams (b), Milton Banana (perc) and Astrud Gilberto (v). Rec. 1963
Funnily enough, this spring 1963 session was close to Getz’s last serious stab at bossa nova – he’d already had massive success with Jazz Samba and Jazz Samba Encore – but it turned out to be the musical perfection perhaps no-one had actually been looking for but everyone instantly recognised on the album’s release. This is perhaps the coolest, most definitively etched marriage of melody and latin rhythm ever achieved, and it was achieved by the towering genius of Tom Jobim’s tunes and spare piano accompaniment, Gilberto’s uniquely intimate voice and guitar, a rhythm section that breathes life and colour, all of it topped by the supreme melodist, Stan Getz. All that plus Joao’s wife Astrud as a last minute show stealer and you have a classic on your hands. (KS)
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29
Herbie Hancock: Maiden Voyage (Blue Note)
Freddie Hubbard (t), George Coleman (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (d). Rec. 1965
A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis (and playing as well as he would at any point of career) it contained two Hancock originals that would assume quickly the status of jazz standards. The binary 34-bar ‘Dolphin Dance’ and the modal 32-bar ‘Maiden Voyage’, with its pre-arranged rhythmic structure that is maintained throughout, will probably be played as long as jazz itself. Add to that ‘Little One’, previously recorded by Davis on ESP, and you have the concept album to end all concept albums. (SN)
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28
Art Blakey: Moanin’ (Blue Note)
Blakey (d), Lee Morgan (t), Benny Golson (ts), Bobby Timmons (p) and Jymie Merritt (b). Rec. 1958
Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in 1956. By 1958 he’d gone through a number of versions of the band, with this becoming the blueprint version for the next half a decade. With Benny Golson and Bobby Timmons supplying hard bop anthems such as the title tune, ‘Along Came Betty’ and ‘Blues March’, and the front line soloists refining their long, elaborate post-bop lines into the shorter and more pithy soul-based hard bop lines of the late 1950s, this Blakey band, and this Blakey album, defined soul jazz. (KS)
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27
Cecil Taylor: At The Café Montmartre (Debut)
Taylor (p), Jimmy Lyons (as) and Sunny Murray (d). Rec. 1962
Taylor had been a thorn in the modern US jazz world’s side since the mid 1950s with his uncompromising approach to music-making, but up until this live date recorded in Copenhagen by the Danish Debut label he’d not made the decisive steps into free playing that would revolutionise the very basis of jazz rhythm. Here, Taylor, Lyons and Murray race pell-mell into music without metric boundaries, throwing open a Pandora’s box of possibilities that would be investigated intensely by every jazz avant-gardist worldwide for the next 20 years. Additionally, Taylor’s supercharged playing on this date was the first glimpse on record of his ability to sustain such white heat over Coltrane-like stretches of playing time. (KS)
26
Bud Powell: The Genius of Bud Powell (Clef/Verve)
Powell (p), Ray Brown (b) and Buddy Rich (d).
Rec. 1950-51Two Herculean trio tunes – ‘Tea For Two’ and ‘Hallelujah’, both taken at breakneck speeds – make up the 1950 contribution here. With the benefit of extra CD space we get treated to two extra takes of ‘Tea For Two’, giving us an object lesson in how Powell developed his material as well as maintaining his incredible improvisational creativity. But the real jewels on this album are the eight solo selections recorded in February 1951. The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening. (KS)
25
Modern Jazz Quartet: Fontessa (Atlantic)
John Lewis (p), Milt Jackson (vb), Percy Heath (b) and Connie Kay (d). Rec. 1956
It’s difficult at this distance, with so much noise and fury intervening, to credit the radicalism of John Lewis’ brief for the Modern Jazz Quartet, but back in 1956 they were doing stunningly new things in jazz in just about every musical area – form, content, arrangement, interplay and theory. They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade. (KS)
24
Wes Montgomery: The Incredible Jazz Guitar of Wes Montgomery (Riverside)
Wes Montgomery (g), Tommy Flanagan (p), Percy Heath (b) and Albert Heath (d). Rec. 1960
Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound – sensitive on ballads but incisive on fast tempos. His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. The effect was stunning and like Charlie Christian two decades earlier, his innovations were to open up new possibilities for the guitar and be the inspiration for a new generation of guitar players, including George Benson, Pat Martino and Larry Coryell, who once played Wes’ own solo on ‘D Natural Blues’ to a surprised Wes. Every track on this album is a classic and his songs ‘West Coast Blues’ and ‘Four on Six’ have become part of the jazz canon. (CA)
Review Wes Montgomery – The Incredible Jazz Guitar of Wes Montgomery ★★★★★
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23
Frank Sinatra: Songs For Swingin’ Lovers (Capitol)
Frank Sinatra (v), Nelson Riddle (arr, cond) and big band. Rec. 1955-56
Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best. Additionally – and crucially – he influenced just about every jazz singer and musician worthy of the name between the 1940s and today, including such people as Lester Young, Miles Davis and John Coltrane, all of whom had listened very closely indeed to Sinatra’s balladry. This classic mid-50s session puts Frankie’s jazz credentials perfectly in order and throws down the gauntlet for everyone else. (KS)
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22
Jelly Roll Morton: Volume 1 (JSP)
Morton (p, comp, arr), George Mitchell (c), Edward Kid Ory (tb), Omer Simeon, Barney Bigard, Darnell Howard, Johnny Dodds (cl), Stump Evans (as), Johnny St Cyr (bj), John Lindsay (b), Andrew Hilaire, Baby Dodds (d) and others. Rec. 1926-28
As with Sidney Bechet, it’s devilishly hard to find a single compilation of Morton that covers all the essentials. This one doesn’t quite, but does it better than most, and also does it under the auspices of remastering from original 78s by John R.T. Davies, whose expertise in this area is legendary. Morton’s miraculous flowering in this period has to be heard to be believed, with his arrangements of his own and others’ tunes so multi-faceted, so imaginative and full of incredible creative drive as to be a collective body of genius to place alongside that of Ellington and – much later – Mingus or Gil Evans. Except he did it first. (KS)
21
Ahmad Jamal: But Not For Me - At The Pershing (Argo)
Jamal (p), Israel Crosby (b), Vernell Fournier (d). Rec. 1958
Jamal’s ideas about integrated and disciplined trio interplay had already deeply influenced jazz’s inner circle of musicians while his piano-guitar-bass trio was around throughout the early 1950s. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in 1958. Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. The highlight may have been ‘Poinciana’, but every track is an object lesson in how to draw the best from a tune. That it was no flash in the pan is shown by the music’s drawing power and continuing fascination today, as well as its ability to influence every new generation of pianists. (KS)
20
Weather Report: Heavy Weather (Columbia)
Joe Zawinul (ky), Wayne Shorter (ts, ss), Jaco Pastorius (b), Alex Acuña (d) and Manolo Badrena (perc). Rec. 1976
Sometimes, when listening to Weather Report at their best and this is one of their very best, it’s worth pinching yourself as a reminder that at their heart, this band comprised one of jazz’s most basic jazz configurations. It’s simply, saxophone, piano, bass, drums and percussion. Then, listen to ‘Birdland’, later covered by Manhattan Transfer and Maynard Ferguson, and wonder. Listen to the boost Pastorius gives the band, especially on his own compositions ‘Havona’ and ‘Teen Town.’ Reaching number 30 on the Billboard album chart, even today Heavy Weather remains as stunning in its overall effect as the day it was made. (SN)
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19
Ornette Coleman: Free Jazz (Atlantic)
Ornette Coleman (as), Freddie Hubbard, Don Cherry (t), Eric Dolphy (b cl), Scott LaFaro, Charlie Haden (b), Ed Blackwell and Billy Higgins (d). Rec. 1960
This one turned everyone around. Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today. Some CD issues of this album contain the 17-minute rehearsal version of ‘Free Jazz’, called ‘First Take’, as a bonus. (KS)
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18
Dave Brubeck: Time Out (Columbia)
Brubeck (p), Paul Desmond (as), Eugene Wright (b) and Joe Morello (d). Rec. 1959
Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Secondly, he’s a distinctive composer with a knack for melody, as this fine album demonstrates, even if the defining tune, ‘Take Five’, is a Desmond composition. It’s also important to stress Brubeck’s commitment to collective invention within his group: still an unusual thing in jazz in 1959. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing. (KS)
Review The Dave Brubeck Quartet – Time Out (50th Anniversary Legacy Edition) ★★★★★
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17
Herbie Hancock: Head Hunters (Columbia)
Herbie Hancock (ky), Bennie Maupin (saxes, fl, b cl), Paul Jackson (b), Harvey Mason (d) and Bill Summers (perc). Rec. 1973
It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. Inspired by Sly and the Family Stone’s ‘Thank You (Falettinme Be Mice Elf Agin)’ there’s even a tribute track on it called ‘Sly’. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. ‘Chameleon’, the single taken from the album (also a biggie for Maynard Ferguson), sped up the Billboard chart to number 13 and made this one of the biggest selling jazz albums of all time. (SN)
Review Herbie Hancock – Head Hunters
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16
Albert Ayler Trio: Spiritual Unity (ESP-Disk)
Ayler (ts), Gary Peacock (b) and Sunny Murray (d). Rec. 1964
Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything. The sheer wildness of Ayler’s sound, execution and ideas (hysterical trilling way above the normal range of the saxophone combined with body-blow honks and sonic booms from its very depths) was unprecedented, as was the frenetic free-rhythm accompaniment from Peacock and Murray. It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best. (KS)
15
Mahavishnu Orchestra: Inner Mounting Flame (Columbia)
John McLaughlin (g), Jerry Goodman (vln), Jan Hammer (key), Rick Laird (b) and Billy Cobham (d). Rec. 1972
Formed in 1971, the original Mahavishnu Orchestra remains guitarist John McLaughlin’s greatest achievement. It lit up the night sky for almost two years, everything was played at 500mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone. McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Even they didn’t realise how great they were until it was all over. (SN)
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14
Duke Ellington: The Blanton-Webster Band (RCA Bluebird)
Ellington (p), Wallace Jones, Cootie Williams, Ray Nance (t), Rex Stewart (ct), Joe Nanton, Lawrence Brown (tb), Juan Tizol (v tb), Barney Bigard (cl), Johnny Hodges, Otto Hardwick (as), Ben Webster (ts), Harry Carney (bs, bcl) Fred Guy (g), Billy Strayhorn (p), Jimmy Blanton (b), Sonny Greer (d), Ivie Anderson, Herb Jeffries (v) and others. Rec. 1940-1942
This 3-CD pack was first issued in the mid-1980s spotlighting Ellington’s most fertile and ground-breaking music. During the three years covered by this set Ellington and his musical doppelgänger Billy Strayhorn turned jazz composition and arranging inside out, often using the simplest of ideas and materials, as only genius can, but also presenting immensely sophisticated ideas in a guise instantly grasped by their legions of fans. That they had the assistance of such stars as Hodges, Williams, Bigard, Webster and Blanton only added to the music’s lustre: it remains an imperishable treasure. The slimline 3-CD 2003 RCA reissue titled Never No Lament: The Blanton Webster Band benefits from the latest remastering and research and is the version to get. (KS)
13
Louis Armstrong: Complete Hot Fives and Sevens (Columbia)
Armstrong (ct, v), Honore Dutrey, Edward Kid Ory, J.C. Higginbotham, Jack Teagarden (tb), Johnny Dodds, Don Redman, Jimmie Noone (cl), Barney Bigard, Happy Caldwell (ts), Lonnie Johnson (g), Johnny St Cyr (bj), Lil Hardin, Earl Hines (p), Baby Dodds, Zutty Singleton (d) and others. Rec. 1925-1930
If Jelly Roll Morton represents the high water of New Orleans polyphony through his Red Hot Peppers recordings of around this same time, Armstrong’s Hot Fives and Sevens reach out into the music’s future by allowing the incredible improvisatory genius of Armstrong to reach its first outrageous flowering. This music is bursting at the seams with vitality, Armstrong’s every solo seeming to overflow with uncontrollable invention delivered with an urgency that is never manic, always confident, forever breathtaking in its conception. Within this admirably packaged 4-CD set from 2000 (easily the best collective incarnation of this music on disc) Armstrong’s accompanying groups expand to meet his conception as the years go by while Louis himself keeps making that big picture bigger. (KS)
Feature Ten of the best Louis Armstrong albums
12
Eric Dolphy: Out to Lunch (Blue Note)
Dolphy (f, as, b cl), Freddie Hubbard (t), Bobby Hutcherson (vb), Richard Davis (b) and Tony Williams (d). Rec. 1964
Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, 1963, for the tiny FM label. Among other wonders, it contained the revolutionary 14-minute Dolphy-Richard Davis duet on ‘Alone Together’. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times. Of course, he remains the group’s most gripping player (he wrote all the material too) and his imitation of a drunk on ‘Straight Up And Down’ remains unsurpassed except by himself. What would he have done next? (KS)
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11
John Coltrane: Giant Steps (Atlantic)
Coltrane (ts), Tommy Flanagan, Cedar Walton, Wynton Kelly (p), Paul Chambers (b), Lex Humphries, Art Taylor and Jimmy Cobb (d). Rec. 1959|
It’s pretty difficult to overestimate the influence this single album – or even more narrowly, its title track – has had on the development of jazz since its release: certainly the saxophone-bearing members of the world’s jazz community have found it and endlessly renewing font of inspiration. More recently, pianists have delved into re-arrangements of Coltrane’s elegant and distinctive compositions. The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players. Some CD versions have as many as eight bonus tracks. (KS)
Feature John Coltrane – Giant Steps
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10
Keith Jarrett: The Köln Concert (ECM)
Keith Jarrett (p). Rec. 1975
Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter 1960s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early 1970s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the 1970s, although his creativity continued to diversify and deepen. An adept at solo recitals (his Facing You for ECM in 1970 was a strong harbinger), he began a series of in-concert recitals for Manfred Eicher’s label that attracted acclaim and increasing public interest, but no-one was prepared for what happened to The Köln Concert when it appeared. A long series of intensely rhythmical improvisations that became hypnotic and endlessly repeatable on turntables throughout the world, the album became a runaway bestseller by word of mouth, rapidly escaping the confines of the jazz listeners’ community and spreading into the living rooms of people who never ever listened to, let alone owned, another jazz album. This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre. (KS)
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9
Miles Davis: Bitches Brew (Columbia)
Miles Davis (t), Wayne Shorter (ss), Bennie Maupin (b cl), Joe Zawinul, Chick Corea (el p), John McLaughlin (g), Dave Holland (b), Harvey Brooks (el b), Lenny White, Jack DeJohnette (d), Don Alias (perc) and Jumma Santos (shaker). Rec. 1969
From whatever perspective you choose to view the 1960s – from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May 1968 to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music – established values were being openly questioned, upturned and in general shaken up. So in a decade when the leitmotif was change, it’s arguable that Bitches Brew was the album that shook the music world up most. After all, combining jazz and rock? Yes, there had been albums before Bitches Brew that did just that, but Miles Davis’ position in the jazz world sanctioned the union between two seemingly opposed bedfellows. With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. From the title track with Davis, Shorter and Maupin emerging from the matrix of the mix before being swallowed up by this swirling electrical brew, to ‘Miles Runs the Voodoo Down’ with the trumpeter on the heels of Hendrix, the sound of jazz was changed forever. (SN)
Review Miles Davis – Bitches Brew (40th Anniversary Deluxe Edition) ★★★★★
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8
Charlie Parker: Bird: The Complete Original Master Takes. The Savoy Recordings (Savoy Jazz)
Parker (as, ts), Miles Davis (t), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (p), Tiny Grimes (g, v), Curley Russell, Tommy Potter (b), Harold West and Max Roach (d) plus others. Rec. 1945-48
Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the 1940s is a latter-day compilation of the original 78rpm singles. Early vinyl attempts to collate his best material were haphazard at best, especially from the original Savoy company, so it wasn’t until the 1960s and 70s that things got in any way organised and proper chronological reissues were successfully brought to market. These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. For those who want to know and shiver to the thrills of encountering earth-moving genius for the first time, master takes only, then this 2-CD set from the 1980s is the best entry point: you get Parker’s own approved performance, you get just the Savoys and you get superior remastering across just two CDs rather than five or six. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day. (KS)
Feature Charlie Parker – Bird Lives!
7
Charles Mingus: Mingus Ah Um (Columbia)
Mingus (b), Jimmy Knepper/Willie Dennis (tb), John Handy (as, ts), Shafi Hadi (as), Booker Ervin (ts), Horace Parlan (p) and Dannie Richmond (d). Rec. 1959
Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful. Ah Um’s release came in the same year as his first evening appearance at the Newport Festival and the start of his record-breaking residency with Eric Dolphy.
The present album, however, was a studio venture with a specially constituted group familiar with Mingus’ working quintets. Ervin’s contributions, for instance, ‘Fables Of Faubus’‚ and the gospelised opener ‘Better Git It In Your Soul’, are a definition of “hot”, while Knepper on the deliberately old-fashioned ‘Jelly Roll’‚ makes it satirical and serious at the same time. Similar things apply to ‘Bird Calls’‚ and ‘Goodbye Pork Pie Hat’, where Handy pays oblique homage to Parker and Lester Young respectively but don’t ignore the crucial reactions of the crisply recorded Richmond. Novice producer Teo Macero’s tight editing allowed for more tunes and more user-friendly presentation than on Blues And Roots. (BP)
Review: Charles Mingus – Mingus Ah Um (50th Anniversary Edition) ★★★★★
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6
Thelonious Monk: Brilliant Corners (Riverside)
Monk (p, celeste), Ernie Henry (as), Sonny Rollins (ts), Oscar Pettiford/Paul Chambers (b), Max Roach (d) and Clark Terry (t). Rec. 1956
Recording of Brilliant Corners began 50 years ago next month, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Unlike his first two Riverside releases, respectively of Ellington standards and a bunch of other jazz standards, this was nearly all Monk’s own tunes and three of the four were new, none more so than the extraordinary title-track which gave so much trouble to the all-star cast who’d never seen it before. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here. The less well-known Ernie Henry was in the pianist’s regular quartet and a post-Parker deviant comparable to Jackie McLean, while Pettiford was a pioneer bopper beloved of Monk except when they disagreed. Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane. (BP)
Feature Thelonious Monk: essential recordings
MusicBuy album from Presto Music
5
Sonny Rollins: Saxophone Colossus (Prestige)
Rollins (ts), Tommy Flanagan (p), Doug Watkins (b) and Max Roach (d). Rec. 1956
Was Sonny Rollins ready in 1956? Was he ready! Apart from this masterpiece, he also lead from the front on Plus 4, an album featuring the Brown/Roach Quintet of the day in all but name, plus Tenor Madness (the title track featuring a head-on with Coltrane) and the exquisite Plays For Bird. But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals. Rollins himself was clearly inspired enough by such material as ‘St Thomas’ and ‘The Moritat’ from Threepenny Opera to still be playing them in concert 50 years later. Nevertheless, it is tempting to call these original recordings definitive, if only because they do in fact define the essence of Rollins’ approach to improvisation, wringing every nuance and variation he can from the theme and its associated melodic and rhythmic patterns. The blues ‘Blue 7’ was famously dissected for such methodology by Gunther Schuller back at the time of Saxophone Colossus’ initial release but that failed to stop Rollins from another two years of super-human saxophone playing before his dramatic retirement in 1959. This is still the biggest-selling jazz album of all time in Japan. (KS)
Feature Sonny Rollins: Albums That Shook The World
Buy album from Presto Music
4
Bill Evans Trio: Sunday At The Village Vanguard (Riverside)
Evans (p), Scott LaFaro (b) and Paul Motian (d). Rec. 1961
None of the three men that made this music one fine June day in 1961 had any inkling of the impact it would have down the years: on listening to the playbacks LaFaro did mention to Evans that he thought they’d got pretty close to optimum performance, but that was about it. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. This album became Evans’ own personal choice of what he thought best represented the trio through the spectrum of LaFaro’s prodigiously gifted bass playing. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives (and in some cases, their careers). Why? Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be. This is hardly to downgrade Evans’ own contributions, all of which retain their depth and freshness today. The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up. (KS)
Feature: Ten life-changing jazz piano trio recordings
Buy album from Presto Music
3
Ornette Coleman: The Shape of Jazz To Come (Atlantic)
Coleman (as), Don Cherry (t), Charlie Haden (b), Billy Higgins (d). Rec. 1959
I don’t know what it was about Ornette that led record company executives to go for the overkill on the album names, but by the time Atlantic released this, the altoist’s debut on the label, he’d already had albums on Contemporary called Something Else!!!! and Tomorrow Is The Question. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. Of course it was a complete red herring, because although Ornette did have a profound influence on subsequent jazz developments, it was an oblique one compared with that of Coltrane’s or Eric Dolphy’s or Miles Davis’. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach. He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Later we all learned that he’d cut his musical teeth on tenor in Texas R&B bands and it all made sense: at the time it sounded as if Attila the Hun had been resurrected at the Five Spot and in Atlantic’s recording studios and was in no mood to do deals. Ornette never did, either, bless him. (KS)
Review: Ornette Coleman – Original Album Series ★★★★★
Buy album from Presto Music
2
John Coltrane: A Love Supreme (Impulse!)
Coltrane (ts, v), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d). Rec. 1964
No matter how many times you approach this album it’s always greater than the sum of whatever parts you compile. Yes, it’s perfect, yes, it’s ambitious, yes it crosses over far from the usual jazz conceptions, yes it is couched as a suite of meditations-in-kind that give it a formal design way beyond 99 per cent of jazz albums. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. But that only scratches the surface of this album’s achievement. You can’t lay it at the door of Coltrane’s aspirations, because good intentions often lead to artistic disasters in music as well as every other aesthetic discipline, but it is possible that his own complete commitment to his testimony of spiritual re-birth happily coincided with a day in the studio where he was truly touched to open his soul through the medium of his saxophone, for his playing on this record is almost terrifyingly open, intense and soul-shattering, even when he is simply stating a theme.
This is a very powerful part of the album’s pull, as is the tautness of each selection’s form, and it must also account for the hold it has sustained magically over listeners who otherwise venture rarely into any form of jazz, including the progressive rock fans of the late 60s and onwards. Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture. Nothing could be the same again. It still isn’t.(KS)
Review: John Coltrane – A Love Supreme: The Complete Masters ★★★★
Buy album from Presto Music
1
Miles Davis: Kind of Blue (Columbia)
Miles Davis (t), John Coltrane (ts), Cannonball Adderley (as), Wynton Kelly (p), Bill Evans (p), Paul Chambers (b) and Jimmy Cobb (d). Rec. 1959
Ashley Kahn, author of Kind of Blue: The Making of the Miles Davis Masterpiece, explains why Kind of Blue tops the list:
How does one properly gauge impact? There’s no smouldering crater in the case of Kind of Blue, Miles’ melancholy, modal-jazz masterwork. The 1959 disc didn’t arrive with a thunderous clap, yet four decades later, at the end of the millennium, there it was at the top of any and all “best of” lists, nudging aside so many rock, pop and hip-hop recordings.
Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5,000 copies a week worldwide, outselling most contemporary jazz recordings. And there it sits in at least five million CD collections. Often it’s the one jazz title owned by a metal head or a classical enthusiast, not just the jazz-focused.
But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. A once-in-a-lifetime line up that makes the term “all-star” seem inadequate: trumpeter Davis, plus sax men John Coltrane and Cannonball Adderley, pianists Bill Evans and Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb.
Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. At a time when the music had “gotten thick” as Miles said, Kind of Blue distilled modern jazz into a cool and detached essence.
The motivation behind going “modal” in the 1950s jazz world was to break from established harmonic patterns (melodic, too) and make way for fresh, extended improvisation. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
Kind of Blue became the improviser’s bible upon its release in late 1959. For one of its joint creators – John Coltrane – it pointed the way forward: he led much of the jazz world into the 1960s after his modal lessons with Miles. At Coltrane’s side pianist McCoy Tyner adapted Bill Evans’ innovation of quartal harmony, the use of fourths on ‘So What’, to legendary results.
At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
“I think the implications of Kind of Blue we now feel everywhere, but it wasn’t as deep as they became over time,” says saxophonist Dave Liebman. “Name me some music where you don’t hear echoes of it,” Herbie Hancock challenges.
“I hear it everywhere – it becomes hard to separate the modality that exists in rock ’n’ roll, some of it could be directly from Kind of Blue.”
Write a book with as narrow a focus as one jazz album (let’s say Kind of Blue) and, trust me, one ends up thinking and rethinking the subject years after publication. My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Yet, especially in the mainstream press, the music chosen for those “best this” and “most that” lists simply falls in line with a long-established view with no question and little explanation.
For this reason and for others, I’m not a fan of top 10 lists. Or of 20, 100, or any number that would place one recording before another. Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. At least in my view.
Of the many ideas I gathered for my book on Kind of Blue, there is one quote in particular that comes to mind whenever the subject of relative value arises.
“If you like Kind of Blue, turn it over, look who plays on it,” says keyboardist Ben Sidran. “If you particularly like the piano, go buy a Bill Evans record, buy a Wynton Kelly record. If you like the alto playing, buy a Cannonball Adderley record. That one record – it’s not even six degrees of separation – is maybe two degrees of separation from every great jazz record.”
My own introduction to Kind of Blue took place in 1976, a time when my teenage ears were filled with post-Woodstock rock, and the first bursts of punk. Springsteen was a recent discovery as was Bob Marley. One day a mate whose musical taste I trusted implicitly yanked a worn copy of Miles’ LP out of my father’s collection – which I avoided as a matter of principle and teenage independence. Holding it out to me, he declared it a classic. I looked at it anew and came to enjoy its mood-setting atmosphere. I also came to realise how narrowly I had been casting for new sounds. I had been standing on the shore of a vast ocean of musical possibilities, yet fishing in one small inlet.
I didn’t fully realise it then, but Kind of Blue helped me see the vastness before me and rejoice in its expanse. I’ve been sailing the waters, listening and learning, ever since.
If those 5,000 per week sales figures are any indication, I’m not alone. As a measure of impact – I can think of nothing more significant than the music that first unmoors one from preconceptions and the need to stay in one place. For this alone, for serving for so many as a portal to an entire world of creative music, I agree that Kind of Blue continues to earn its status as a number one.
Feature: Miles Davis – Kind of Blue
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https://www.moderndrummer.com/2004/05/chico-hamilton/
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Chico Hamilton
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2004-05-12T04:00:00+00:00
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Chico Hamilton Since 1977, the world's most widely read drum magazine: in print, online, and the Modern Drummer app. Where the world's greatest drummer meet.
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Modern Drummer Magazine
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https://www.moderndrummer.com/2004/05/chico-hamilton/
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Drummer Steve Davis recalls when The Lynne Arriale Trio, of which he is a member, played at a jazz festival with Chico Hamilton’s group a couple of years ago. “I complimented Chico on how great his band sounded,” Davis says. “He said it came out pretty good, considering that they were breaking in a new bass player.” Davis took the bait and asked how long the new bandmember had been with them. “Six years,” was Chico’s reply – an answer that reflects Hamilton’s sense of humor as well as the consistency of his long career.
Born in Los Angeles on September 21, 1921, Hamilton began working professionally with such musicians as Dexter Gordon, Illinois Jacquet, and Charles Mingus while still in high school. He spent eight years touring with singer Lena Horne, and then received much praise for his work with Gerry Mulligan’s band in the early 1950s. Hamilton began leading his own band in 1955, and such jazz stars as Eric Dolphy, Ron Carter, and Charles Lloyd got their start in Chico’s band.
In 1966, Hamilton became active as a composer for advertising jingles and movie and TV soundtracks while continuing to lead a band. In recent years, he has taught at The New School in New York. Chico has released nearly fifty albums as a leader, including his newest release, Foreststorn, on the Koch Jazz label. The title of the album is Chico’s own given first name, as well as that of his son, who died shortly before the album was completed. Advertisement
The music, which was all composed by Hamilton, reflects Chico’s wide range of musical influences as well as his swinging, legato style of drumming. A variety of guest artists from the jazz, blues, and rock worlds appear on selected tracks, bringing Chico’s versatility and sensitivity as an accompanist to the forefront.
MD: The new album has a very youthful sound. Is music keeping you young?
Chico: It better! [laughs] Hey man, age is just a number. It’s been a long time since I’ve done a groove record. And it’s been a long time since I’ve heard a groove record. So the idea was to have some groovy lines on top of some dynamite rhythms and let ’em flow.
MD: On some of the tunes, the groove sections are broken up by freer, impressionistic sections. That made me appreciate the groove even more.
Chico: One is no good without the other. It’s like an artist who uses rough textures and smooth textures. So that was the idea I had in mind about everything we were doing.
MD: On the first tune, “Outrageous,” I like the way you make the stick bounce across the ride cymbal to create that rhythm.
Chico: I originated that years ago, but I hadn’t used that lick in a heck of a long time. It’s very effective.
MD: It gives the tune momentum, but it’s also very relaxed. It reminds me of the advice to “let the sticks do the work.”
Chico: You hit the nail right on the head: letting the sticks do the work by controlling your bounce. Playing with that sort of bounce/finger technique enables you to sustain a little longer in regards to not having to use so much wrist movement. Advertisement
MD: “That Boy With That Long Hair” has a bossa nova feel, and “Sweet Dreams” has a Latin groove. The name “Chico” implies a Latin heritage. Have you got some Latin blood?
Chico: Well’there’s been rumors. [laughs] My given name is Foreststorn. Chico was easier to say. But there’s some Mexican Indian heritage, among other things.
MD: I assume you heard a lot of Latin music growing up in Los Angeles. So do you feel an affinity for those types of rhythms?
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The Chico Hamilton Trio
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https://i.scdn.co/image/ab67616d0000b2734733bd5cd76051cba311eaf8
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Listen to The Chico Hamilton Trio on Spotify · Album · Chico Hamilton · 2010 · 10 songs
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https://open.spotify.com/album/0w0xxxGuXATYegBnXZurou
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https://en.wikipedia.org/wiki/Chico_Hamilton_Quintet_in_Hi_Fi
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Chico Hamilton Quintet in Hi Fi
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1956 studio album by Chico Hamilton Quintet
Chico Hamilton Quintet in Hi FiStudio album by
Chico Hamilton Quintet
Released1956RecordedNovember 12, 1954, January 4 and February 10 & 13, 1956
Music Box Theatre in Los Angeles, CAGenreJazzLabelPacific Jazz PJ-1216ProducerRichard BockChico Hamilton chronology
Chico Hamilton Quintet in Hi Fi is an album by drummer and bandleader Chico Hamilton, released on the Pacific Jazz label.[1][2] The bulk of album was recorded at two sessions in 1956; a live drum solo was recorded in 1954.
The cover artwork is a photo of artist Vito Paulekas.[3]
Reception
[edit]
Professional ratingsReview scoresSourceRatingAllMusic[4]The Penguin Guide to Jazz Recordings[5]
The AllMusic site rated the album 3 stars.[4]
Track listing
[edit]
"Jonalah" (Carson Smith) - 2:15
"Chrissie" (Jim Hall) - 3:50
"The Wind" (Russ Freeman) - 3:32
"Gone Lover (When Your Lover Has Gone)" (Einar Aaron Swan) - 3:48
"The Ghost" (Buddy Collette) - 5:05
"Sleepy Slept Here (Santa Monica)" (Collette) - 4:08
"Taking a Chance on Love" (Vernon Duke, John La Touche, Ted Fetter) - 4:07
"The Squimp" (Fred Katz) - 1:47
"Topsy" (Eddie Durham, Edgar Battle) - 4:43
"Drums West" (Chico Hamilton) - 4:15
"Sleep" (Adam Geibel, Earl Burtnett) - 2:26
Recorded at Stockton High School in Stockton, CA on November 12, 1954 (track 10); in Los Angeles, CA on January 4, 1956 (tracks 1-5); and at the Music Box Theatre in Hollywood, CA on February 10 & 13, 1956 (tracks 6-9 & 11).
Tracks 1, 3, 8, 11 also released on Pacific Jazz EP4-45.
Track 10 is a 'drum solo feature' for Hamilton, edited from "A Bark For Barksdale" (original running time = 8:24) by the Gerry Mulligan Quartet.
Personnel
[edit]
Chico Hamilton - drums
Buddy Collette - tenor saxophone, alto saxophone, flute, clarinet (tracks 1-9 & 11)
Fred Katz - cello (tracks 1-9 & 11)
Jim Hall - guitar (tracks 1-9 & 11)
Carson Smith - bass (tracks 1-9 & 11)
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
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R.I.P. Chico Hamilton (September 20, 1921-November 25, 2013). Two WKCR Interviews and a DownBeat Blindfold Test
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Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the '90s I had the…
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Today Is The Question: Ted Panken on Music, Politics and the Arts
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
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Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the ’90s I had the privilege of doing two comprehensive shows with Chico, one a Musician’s Show in 1994, the other a five-hour Sunday “Jazz Profiles” show in 1996. Later, I had an opportunity to conduct a Blindfold Test with Chico at his East Side Manhattan apartment. I’ve appended the full transcripts below.
* * *
Chico Hamilton Musician Show, WKCR, July 20, 1994:
[MUSIC: C. Hamilton, “Around The Corner” (1992)]
TP: We’ll be creating sort of an oral autobiography. Chico is surrounded by records, of which we won’t get to a fifth. It covers the Los Angeles scene in the 1940’s and 1950’s, and a variety of people. The first selection cued up is “Tickletoe,” by the Count Basie, featuring the man who drummed like the wind, Papa Jo Jones, who seems to have been the person who influenced your approach more than anyone else.
CH: That’s absolutely correct, Ted. As a matter of fact, Jo… Actually, the first drummer I ever saw was Sonny Greer, and I was very impressed with him. I was a youngster, about 8 or 9 years old. But when I started playing, which was I guess 9 or 10 or something like that, and when I was in junior high school, all of a sudden Count Basie’s orchestra came on the scene, at least on the West Coast. We began to get his records. Then when I heard Jo Jones… Because Jo completely turned the rhythm aspect of drumming completely around, you know, with the sock cymbal. As a matter of fact, that last composition that you opened up with, “Around the Corner,” was sort of dedicated to Jo Jones and the Count Basie era because of the sock cymbal, you know.
TP: Let me turn the conversation to a few things you touched on in those few sentences. You came up in the Los Angeles area, and when you were ten years old it would have been around…
CH: Well, I’ll tell you. It was two weeks before baseball. How does that grab you?
TP: Do you care to elaborate on that one?
CH: [LAUGHS] Well, I started playing in the late Thirties and early Forties, more or less the early Forties. I guess when I was around 13-14 years old, we had a band, a big 15-piece band. It was under the leadership of a guy by the name of Al Adams, and the only reason why he was the leader is because he was the oldest. I think he was about 19 at the time.
TP: What was the age range?
CH: The age range was from 14 to about 19.
TP: From all over Los Angeles or from the neighborhood?
CH: From the neighborhood and from all over. We had guys like Dexter Gordon, Illinois Jacquet, Ernie Royal, Charlie Mingus, myself, Jack Kelso, Buddy Collette…
TP: Now, for those who aren’t familiar with the West Coast, tell us about the neighborhood, as specifically or as generally as you want to, and the circumstances by which you met, some of the factors in your musical education and so forth.
CH: Well, I don’t know how it was throughout the rest of the country, but in L.A., in the school system, you were required to take music, either Music Appreciation or an instrument or something. It was in the curriculum. You had to be involved with music. Regardless of whether it was junior high school or high school, you had to become involved in music. And at that time, L.A. wasn’t a very large place. As a matter of fact, everybody just about knew everybody. Young guys, young musicians will always be able to get together or find one another, just as they do today. That’s how it really came about. Also, we came out of Jefferson High School, which most of us attended. Buddy and Mingus, of course, were from the Watts area. But the school actually was the common denominator.
TP: There was a very prominent teacher at Jefferson High School, I recollect.
CH: Yes, his name was Samuel Browne, the music teacher there, who virtually, in a sense, encouraged all of us to become good musicians. At that time also, man, it was an unbelievable amount of… All the bands would come to L.A. As a matter of fact, they would let the kids out of school, man, when a band would come into town, which they virtually would come in on the train… They would let us go down to the train station to see Count Basie, Jimmie Lunceford, Benny Goodman, Earl Hines, all the bands.
TP: Where did they play?
CH: Well, there were several places, big cabaret dance halls, virtually. I guess they were called nightclubs, but they were big places. The Casa Mañana(?), the Palladium, the average dance hall name, but…
TP: So you’d have a band, a film, a couple of dancing acts and comedians and so forth…
CH: Well, at that time, most of the bands carried their own show. For instance, when I joined Count Basie’s band, Jimmy Rushing was singing, I forget the lady singer now…
TP: Helen Humes?
CH: Helen Humes. And the dance team that they had was the Berry Brothers, Coles & Atkins, and Pot, Pan and Skillet. All of these were fantastic dance acts. And that would consist of the show, sort of a semi-vaudeville type of show, but the band would be the feature — and they played all over the country. At the Avedon, which was a ballroom, this is where the bands that came in would play, and we all had an opportunity to hear Lunceford and Basie and Duke.
I consider myself very fortunate, Ted, because I came up during the right time. Because to be able to hear the originals, the people who invented this particular style of music, this way of playing… You know, I was there.
TP: I think one thing that’s misunderstood because of the nature of the recording process in the 1920’s and Thirties and early Forties is what the drums sounded like in the big bands and the actual presence of the drums. If you hear them on records, they sound kind of tinny or in the background, but I’ll bet that’s not what it sounded like when you heard Sonny Greer with Ellington, or Jo Jones or Jimmy Crawford…
CH: All of these guys, man…the drummer… You know that old phrase about “give the drummer some.” All of these guys, all of these drummers, all of these great, brilliant musicians, the drummers were determining the styles of the band. It wasn’t so much what the bandleaders were doing. Jimmie Lunceford used to conduct with the baton. Basie, sure, played piano; Duke played piano. But the actual sound of the rhythm, the feeling, the whole mood that was created by the bands was created by these drummers.
Now, Sonny Greer played a particular style of drumming which was like what we might refer to…your listeners might not understand about playing on the beat, one-two-three-four, two-two-three-four. He played DJUN-DJUN, DJUN-DJUN, DJUN-DJUN, DJUN, DJA-DJUN, DJUN-DJUN, DJUN-DJUN, CHOO-CHI-TU, that kind of a thing. Now, the Ellington band swung in that groove. Whereas with the Basie band, Jo Jones did DIT-DI-DANG, DIT-DI-DANG, DIT-DI-CHANG, DIT-DA, DIT-DA, and he swung that band with a completely different feeling than what Ellington had.
Strangely and oddly enough, even bands of today, here, what is this, 19…what year is this…?
TP: 1994.
CH: Here in 1994, a large ensemble still plays with either one of those two grooves, as far as the Jazz aspect is concerned.
TP: When did you start playing drums? When you were 15 or 16?
CH: Well…
TP: In the 1960 Encyclopedia of Jazz it says you started out playing clarinet.
CH: I did. I started out playing clarinet. And the reason I started out playing clarinet is because my best friend, Jack Kelso, played clarinet. So having my best friend play clarinet, I figured, “hey, I’d better…I want to play clarinet.” But I soon gave it up because it became a little bit difficult, you know… Also my older brother was playing drums. This was in grade school, so we had to be no more than 8 or 9 years old. When he… They graduated from grade school in those days, right! So when he graduated, I figured, well, since he was my brother and plays the drums, I’m going to play the drums. And I just started. I had no idea what a drummer did really, but I just said, “Hey, I’m going to do it,” and I just did it.
TP: You did it on his pair of drums?
CH: Well, it was the school drums. The school had the drums. As a matter of fact, we rented the clarinet for two dollars a week (can you believe that?) from the school.
TP: That was a lot of money then.
CH: Oh, tell me about it, man. Tell me about it. That’s virtually, in a sense, how I got started. The more I got into playing and the more I got into the instrument, the more difficult it became, and the more difficult it became, all of a sudden, I realized, “hey, this is it; this is what I’m going to try to do.” I started reaching out, and everyone helped me. Everyone. Everyone I played with.
TP: How would they do that? Talk about how musicians would help a young musician coming up, what the scene was like for a young musician in Los Angeles in the Thirties and early Forties.
CH: Well, in those days, there was a camaraderie, a relationship with musicians. You know, strangely and oddly enough, as young as I was, people like Jo Jones and Lester Young, people like that, the Charlie Parkers, they weren’t that much older than we were…
TP: You’re a year younger than Charlie Parker.
CH: Well, I probably was older than Charlie. I just mentioned him… But the fact is that Bird influenced me tremendously, when I came out of the service, in California. He and Howard McGhee virtually introduced me to what the Bebop scene was all about.
But back in the early days we were very much influenced by anyone that we heard, especially the ones with the names that came to the West Coast. And once the guys came out to the West Coast, it was… Everybody was friendly, everybody was warm. And we jammed a lot, man. We jammed all day and all night long! It was unbelievable, the amount of time we put in the jam sessions. That’s how we learned to play. If it wasn’t happening, somebody would pull your coat and say, “Hey, listen, why don’t you try doing this” or “why don’t you try to do that” or “Why do you want to do this?” — that kind of a thing.
TP: This is the Musician’s Show, and you’ve been listening to Chico Hamilton tell you about coming up there in the Thirties and early Forties as a young drummer. First on cue is “Tickletoe,” the Basie band with Papa Jo Jones. It also said in your biography that you studied with Papa Jo while you were in the Service in the first half of the 1940’s. Tell us about that, and then let’s get to some music.
CH: Well, I’ll tell you how dumb the Army was. [LAUGHS] I was already drafted, I was already stationed at Fort McCullough in Alabama, right. I wasn’t in the band, but I was attached to the band, which means that… They had four other drummers in the band, but none of them could play. They virtually really… I mean this. They couldn’t play. So whenever a show came through, they would send for me, and make… They put me in the drum-and-bugle corps. Now, I came into the Service carrying my drum under my arm. This is the truth, man! And you know, when they put me in the drum-and-bugle corps, do you know what they did? They made me play bugle! [LAUGHS]
Anyway, to make a long story short, when Jo Jones… This is why I’m saying how dumb it was. When Jo Jones and Prez, Lester Young, when they came through there… They were drafted, and they came through the same camp, man. They would not let them in the band! Man, it just broke my heart. They made them… At one time they wouldn’t even allow them to even associate, and come to the band room and things like that. Well, anyway…
TP: Well, Lester Young’s bad times in the Army are very well-documented.
CH: Well, they gave Prez a terrible time, man. First of all, he was a beautiful human being, man. He was a tremendously warm, sensitive human being, and so was Jo. What their contribution to what we call Jazz today, or in the Swing or whatever era…it will never be duplicated. Because try as you might, there’s no one that could get that sound and get that feeling Jo had or could get playing, and the same thing applied to Prez. But in the Service, I had a chance to get with Jo quite a bit when he would come off doing the daily Army thing. We’d get together at night, and we’d jam, we’d play, we’d practice. We would talk drums constantly, and talk music. It was priceless.
[Basie, “Tickletoe” (1940); Ellington, “Ring Dem Bells” (1931); Basie “Topsy: (1938); Lunceford, “Tain’t What You Do” (1939); Prez/Shadow Wilson, “Indiana” (1944); Prez/Chico, “Lester Leaps In” (1946); C. Hamilton Trio, “Tickletoe” (1992)]
TP: We covered quite a bit of ground on that last set of drummers.
CH: Well, just about. Music is very broad, Music is very big, Music is very long, and Music is very beautiful…
[ETC.]
TP: The 1946 performance of “Lester Leaps In” featured Chico’s long-time partner, bassist Red Callender.
CH: As a matter of fact, Red and I did quite a bit of playing together when I was out on the West Coast, when I was out in L.A. I just want to establish a fact that what the people here in New York, the East Coast people, everything they consider the East Coast Sound, which was a big thing, I guess, in the Fifties or Sixties regarding the East Coast versus the West Coast… How that originated, how that came about, I think it was in the Fifties or early Sixties, there was a club here in New York, Basin Street East, and for the first time I was coming east with my original quintet with the cello, with Fred Katz, Carson Smith, Buddy Collette and Jim Hall. We were playing opposite (are you ready?) Max Roach’s original quintet with Clifford Brown and I think it was Harold Land, and Richie Powell and George Morrow. So in order to stir up some…to hip business up, to make it a happening, the publicist started the East Coast versus the West Coast…
TP: Harold Land, of course, was from the West Coast.
CH: He was from the West Coast. But that’s how that East Coast-West Coast thing really got started.
But in the meantime, getting back to Red Callender, Gerry Wiggins, people like that on the West Coast, there was a definite… We had a very definite way of playing, a style, a West Coast style of playing. It’s just like they had a style, all the Kansas City musicians, the musicians from the Midwest — they had a particular style, a way of playing. They swung very heavy, right? Guys on the East Coast, they had their own thing going. I’m speaking before the Bebop Era came in…
TP: How would you put into words the Southwest sound?
CH: Well, the Southwest sound was more… The prime example is Count Basie, the Count Basie Orchestra. There was a band by the name of Nat Towles and Snookum Russell…
TP: Now, did those bands come to California?
CH: No, they didn’t make it to the West Coast. But this was a Midwest type of band. Because during the War years, the early part of the Forties, I sort of left the Service for a quick minute [LAUGHS], and went out on the road with Snookum Russell’s band in the Midwest.
TP: That’s the band J.J. Johnson left Indianapolis with.
CH: That’s right.
TP: What was that band like?
CH: It was just a swinging thing. Just out-and-out swing. I realize today when I use that terminology, “swing,” that a lot of young people don’t know what I’m talking about. But unfortunately, there’s no substitute for it. Because whether you’re playing Rock-and-Roll, whether you’re playing Pop, or whatever you’re playing, it’s got to swing. In other words, it’s got to have a pulse to it, to make you feel like, hey, snapping your fingers or patting your foot. That was the one thing that the Swing Bands did do, man. You couldn’t… It was hard for anyone to keep still when you’d listen to one of those bands.
TP: Also, in Los Angeles, a lot of the Black community came from the Southwest and the South Central parts of the United States, and subsequently settled there. So it seems to me a lot of that sound came into the Los Angeles sound in a certain way. True or false?
CH: Not necessarily. Not during those days. I don’t know… The fact that I was born there… Well, just from my generation up is what I’m familiar with in regards to what music was all about, what Jazz was all about. And the majority of those guys…
TP: They were from L.A.
CH: They were from L.A. Before then, who knows? We all came from…
TP: I was thinking about people coming for jobs in the Navy yards…
CH: Oh, no. Well, this was before then. That started when the War started; people would come there for gigs. But most musicians, if they came there, man, they came there to play. Because there was a zillion places to play at that time.
TP: Let’s talk a bit about the scene in Los Angeles towards the end of the War and the years right after. A lot of musicians also moved to Los Angeles who lived there for long periods of time, like Lester Young, who we heard you with, or Art Tatum…
CH: That’s right.
TP: …and many other people.
CH: Well, after the Service… I think I got out of the Service around 1945. But I came back to L.A. Before I went into the Service, the Swing thing was the thing, the Swing beat — [DA-DANG, DAT-DA-DANG], that was it. Right? When I came out of the Service and came back to L.A., I heard and saw for the first time, and just was blown away completely by Charlie Parker, Miles Davis, Erroll Garner, Howard McGhee, Teddy Edwards, Roy Porter, people like this. Man, this was a whole, brand-new kind of thing to me, man. Because I was down South, and I just only knew one way of playing. And to come back to the West Coast and start hearing Bebop, man, it was just absolutely amazing.
TP: Were you hearing the records when you were in the Service, as they came out…
CH: What records?
TP: Oh, you didn’t get any of those records. Okay.
CH: [LAUGHS] Those records didn’t come that far down there! No, unfortunately we didn’t have that opportunity to hear the records. But it was really amazing. As a matter of fact, man, I was fortunate enough to get a job, join a band by the name of Floyd Ray. In Floyd Ray’s band, there was a piano player by the name of Hampton Hawes, there was a trumpet player by the name of Art Farmer, and his brother, Addison Farmer, played bass. The tenor players were J.D. King, Bill Moore. People like this. It was a big band. We played for… As well as playing dances and things like that, we played shows at theaters. We were playing a show, and headlining the show was this little kid from Detroit by the name of Sugar Chile Robinson. We used to think it was a midget; he was a piano player. The Emcee of the show, who carried the whole show and the dance team, was the Will Mastin Trio, featuring Sammy Davis, Junior. Man, we were playing all up and down the West Coast.
We happened to be in Oakland, and this was maybe like on a Friday night… We heard that the Billy Eckstine band was coming to town to play a dance. And in that band was Art Blakey [PRONOUNCES “Blakeley”], Dexter Gordon and Gene Ammons. I’ll tell you, man, you talk about getting blown away! I had never in my life heard anybody play like Art Blakey! Right? And I was so influenced, carried away by his playing, that the next morning, when we were doing our show, I started trying to play…dropping bombs, as we say, playing Bebop licks on the drums. And man, I almost got fired, because Sammy Davis’ father told me…he said, “What the hell are you doing?!”
But anyway, that was my first really introduction to playing Bebop music. Hearing Art Blakey, man, was just… He turned me completely around. Whereas Jo had set things up in the beginning, he and Sonny Greer, Art Blakey really turned me around.
TP: He gave you a sense of the feeling.
CH: Oh, man, did he ever! Art Blakey was a brilliant, brilliant master percussionist. He was just an out-and-out hard-swinging drummer.
[D. Gordon/T. Edwards, “Blues In Teddy’s Flat” (1947); Bird, “My Old Flame” (1947); Dexter/Wardell, “The Chase” (1947); Howard McGhee, “Thermodynamics” (1946); Eckstine, “Blowin’ The Blues Away” (1944); Hamp/Mingus, “Mingus Fingers” (1947)]
TP: …after “Mingus Fingers” we heard the Billy Eckstine band, the tune Chico Hamilton said was the first he ever heard the band do, “Blowin’ The Blues Away.”
CH: Talk about blowin’ the blues away, man; it really blew me away, man! That was the band I heard in Oakland, California, I think it must have been in 1945, 1946. Man, can you imagine hearing a band like that? It was unbelievable. Unbelievable.
TP: That was a radio broadcast, and Art Blakey’s sound really came through well on that one.
CH: It was fantastic, especially in regards to the fact that they only used maybe a microphone for the reed section and one mike for the brass, and that was it — the rhythm section had to go for itself. The band was swinging, man. It was cookin’. You know?
TP: And I’m imagine they were playing for dancers as well, so there was a whole ambiance that doesn’t exist today.
CH: Well, that’s something that… For instance, every band…Count Basie… Basie had that thing that he knew the right groove to make you dance, want to dance. Jimmie Lunceford had that groove that would make you want to dance. Jimmie Lunceford’s rhythm was basically in a two-beat kind of thing. Basie’s was a 2/4. Duke Ellington? Once in a while you felt like dancing to Duke’s music. But Duke’s music, you listened to it more, in regards to, hey, you just cooled and listened to the amazing arrangements and the brilliant playing of the players.
TP: It seems to me that Ellington had different sets for different audiences, and he could pull out so many things.
CH: Well, different strokes for different folks!
TP: Before that we heard Howard McGhee on a couple of classic Bebop sides, “Thermodynamics,” featuring his virtuosic trumpet from 1947, with Jimmy Bunn on piano, who was present on a lot of these early West Coast dates.
CH: I knew some of Jimmy’s relatives, as a matter of fact. Jimmy’s cousin was a good friend of brother’s, Bernie Hamilton, the actor. Jimmy Bunn is still playing. He’s still in California, and he’s still playing very-very-very good. He perhaps was one of the most underrated players as far as recognition was concerned. But at one time, Jimmy Bunn, nobody in L.A., you know…
TP: He had first call, is what it sounds like.
CH: Exactly. If you couldn’t get Jimmy… Then when Hampton Hawes started coming on the scene, Hampton began to get all the calls. Also in there was Dodo Marmarosa. Dodo was originally from Pennsylvania someplace, but…
TP: Pittsburgh, I think.
CH: Pittsburgh, yeah. But man, Dodo could play, too.
TP: And he recorded with many people, including Charlie Parker.
CH: Yes, he did.
TP: Jimmy Rowles was active in Los Angeles at that time.
CH: Jimmy Rowles. My man, Jimmy Rowles! I haven’t seen Jimmy in quite a while, but last time I heard, he and his daughter were playing together. His daughter, Stacy, plays trumpet.
TP: Before “Thermodynamics” we heard “The Chase,” one of the most famous sessions of that time, also for Dial, recorded in 1947, with Jimmy Bunn, Red Callender on bass, and Chuck Thompson, a very active and strong drummer.
CH: He was a very good drummer. Very good. As a matter of fact, Chuck is still playing. And you mentioned another drummer on the West Coast…
TP: Roy Porter?
CH: I don’t think Roy is playing any more. But before Roy you mentioned…
TP: On one of these tracks?
CH: On one of the tracks.
TP: Well, Roy Porter played with Howard McGhee. And… Well, I don’t know who that was.
CH: He played with the Hampton Hawes Trio.
TP: Oh, Larence Marable.
CH: Larence, yeah!
TP: He was very active, and he’s now going out with Charlie Haden’s group amongst others.
CH: Hey, Larence is a fantastic player.
TP: He’s someone who had an impact on Billy Higgins when Billy Higgins was coming up in the Los Angeles area. Before “The Chase” we heard “My Old Flame” by Charlie Parker for Dial; Bird cut many sides for Dial while in Los Angeles. And we began the set with Dexter Gordon and Teddy Edwards, another tenor duel called “Blues In Teddy’s Flat” with Jimmy Rowles, Red Callender, and Roy Porter
Again, we have this combination of native Los Angeles musicians, and musicians who settled in Los Angeles from other places, like Teddy Edwards, who came from Jackson, Mississippi to Detroit to Los Angeles, or Howard McGhee, who was from Oklahoma, Detroit, then Southwest bands into Los Angeles. I’d like to ask Chico for brief portraits of some of your contemporaries. Let’s begin with Charles Mingus, because you knew Mingus when he was very young. How old were you when you first met? Do you remember?
CH: Well, let me see. I don’t know, I suppose I was about 10 or 11, something like that — 11 or 12. As a matter of fact, Charlie Mingus and my wife went to Sunday School together, attended the same church. Do you believe that?
TP: Which church was that?
CH: It was some church in L.A. I don’t recall the name of it. Buddy Collette and his family attended that church, and Mingus’ family, and my wife’s family attended the church. So actually she knew Mingus before I did. But we were unbelievably young, and unbelievable at that time as young players, as young dudes. We thought we were… As a matter of fact, some of the joints we played, we’d have to disguise ourselves to look older because of the booze thing. But Charlie and I came through a lot of wars together as far as playing on the bandstand. He developed into a very uncanny kind of a musician. I guess that’s my way of saying how brilliant he was. It hurts me, the fact that Charlie had to die a pauper. Because what he contributed to this thing called Jazz and this thing called Music, unfortunately, he really didn’t receive any of the benefits while he was alive.
TP: Some of the things that he wrote… “The Chill Of Death” which he recorded in 1971, was written, I think, when he was 17 years old! Do you remember these pieces, or seeing them? Did you talk about music or his compositions a lot?
CH: Well, you know, every conversation Charlie and I would have would be off the wall! I was never surprised at anything he would say or anything he would do…
TP: Or come up with musically.
CH: Or come up with musically. And I guess he might have thought about me the same way. A funny thing, though, when I came out of the Service, all of these guys, Charlie and Buddy, John Anderson and guys like that, they had gotten re-established again out in L.A. on the famous Central Avenue, and I had to come out… Nobody knew who I was, and I had to sort of establish myself all over again. I got pretty lucky, because I ended up being the house drummer for Billy Berg’s.
TP: A famous club where a lot of Jazz history was made.
CH: All the Jazz, that’s where it was.
TP: That’s where Bird and Diz came through when Bebop first hit the West Coast.
CH: Bird and Diz, right. That’s when I began to play for all the singers, too, at that time.
TP: What were the chain of events that led to that? It couldn’t have been just luck.
CH: Me playing at Billy Berg’s?
TP: To be the house drummer, especially then, you had to be versatile, be able to basically play anything, read, and so forth.
CH: Right. Well, I’d played for him before I went into the Service. He used to have a club called the Club Capri, before Billy Berg’s. As a matter of fact, at the Club Capri, this is when I first… Norman Granz used to be like a go-fer for all the guys. [LAUGHS] You know, he ends up being a zillionaire, an entrepreneur. But anyway, to make a long story short, at the Club Capri, that’s where Lorenzo Flournoy’s band, Red Mack’s band, Lee and Lester Young… When Prez first left Basie’s band, his brother Lee Young had a small group. These were all small groups, no bigger than five or six pieces, seven pieces at the most. Billy Berg’s was the number-one room in Los Angeles at that time. That was it. If you played that room, it was fantastic.
The other room that was called the 331 or the 333, I forget…
[END OF SIDE 2]
…of my playing, of my career, I played with this guy named Myers, Old Man Myers. He kept me on brushes. He wouldn’t let me play sticks at all, man. We would go out and play at least three or four nights a week. Right? I was lucky enough to make… He’d pay me like maybe 75 cents, I mean, really 75 cents! — we were lucky if we made a dollar. But I would play brushes constantly. Constantly. Every time I’d get ready to pick up the sticks, he said, “Put those sticks down!” So fortunately, that helped me to develop a stroke that swept me into some of the choicest gigs at that time.
TP: This conversation evolved from word portraits of some of your associates in Los Angeles at this time. I’d like to ask you about Dexter Gordon, who was a few years younger than you, but came up around the same time.
CH: Well, can you imagine… When Dexter was about 10 years old, he was already twelve feet tall. Then he shrank! We used to call him Big Stoop, from the character in the comic strip Terry and the Pirates — if anybody remembers that.
Anyway, Dexter and I… You might not believe this, but Dexter Gordon and myself, and a trombone player by the name of James Robertson, we were the only three guys, three people period, to get an A in English in high school. That was the toughest teacher in the whole entire system. Her name was Mrs. Smith. And Dexter and myself and James Robinson got an A in English, man!
As a matter of fact, Dexter started off playing clarinet, and he used to play clarinet, he used to come on the campus… Dexter was like the pied piper. Dexter would play his horn anywhere, in the hall, in the room, it didn’t matter — all over the school. And he loved Prez. He just adored…
TP: Took apart the solos and…
CH: Everything was note-for-note. So that’s how we learned to play, virtually, in a sense, by copying the masters, the people who invented that way of playing. But Dexter was, again, a brilliant, fantastic, inventive kind of player. And to be among this kind of talent, you know, you just took it for granted that, hey, he could play, I could play, Ernie Royal could play, you know…
TP: And you went out and played.
CH: And we went out and played.
TP: And then things happened, people heard you, and that’s how…
CH: Exactly.
TP: A few words about Red Callender.
CH: George “Red” Callender. George was a little older than myself and Mingus and Buddy and Jack Kelso. But we had a tremendous amount of respect for Red, because Red was the big-time already. When we got on the L.A. scene before the war, well, Red Callender had been playing with Louis Armstrong and playing with all the big names. And the fact that he was local, he was in L.A., and we… He was… You know, just to be in his presence was something. It meant something to us. We all befriended each other, and we came up this way.
As a matter of fact, at one time Red Callender, myself and a piano player by the name of Dudley Brooks, we were the only three Black musicians that were ever hired by the studios out there; actually put on staff, you know, at Paramount Studios at one time. Because at one time it was a no-no. But we got a job… I was playing for… It was equivalent to being the rehearsal player. I was like the rehearsal drummer. I used to keep time for people like Marilyn Monroe, Sherrie North, I used to work with all the dance directors out there, keeping time for them while they got their act together. But it got boring after a while, and I split.
TP: But the money must have been nice.
CH: Hey, man, listen. It was steady. Right? To get paid every week? It was unbelievable, man. But I don’t know, man, I was always pretty fortunate. I was able to… I’ve been lucky, blessed, because I’ve been always able to have a gig.
TP: Well, it seems you’ve been very flexible and adaptable as well, and yet very determined, and with very definite sounds in your mind’s ear.
CH: Well, I’ve always, first of all, been very proud of my profession. Like, I’m a professional musician, just like a doctor is a professional or a lawyer is a professional. I’ve been very, very highly… Well, this is what I do. In other words, this is the jokes, folks. And I don’t fluff it off. I never blow a gig, man. Whether I sound good or bad or indifferent, man, I’m playing my heart out. I’m playing the best that I can at that time. And that’s it. That’s the way I came up. And I believe in music. I believe in what I’m doing. People are always wondering what I’m going to come up with next. I have no idea what I’m going to come up with next. But I know that when the time comes for me to come up with something different, or change, I will change. I don’t like to get bored.
TP: Well, you were the envy of hundreds of thousands of men as the drummer with Lena Horne for five or six years. The listing is ’48 to ’54, approximately. Is that right?
CH: No, as a matter of fact, ’47 to ’55, I think it was. I’ll tell you, playing for Lena was truly an experience. I give her a tremendous amount of respect and a tremendous amount of credit in regards to her musicianship. Most people don’t realize what a fantastic musician this woman is. And through her, and with her, her late husband, Lennie Hayten, and Luther Henderson, I had an opportunity to really learn what music was all about, how to express what you feel and what you think. Even to this day, man, we’re still friends. I don’t see her that often. But as one of the singers that I had a tremendous amount of respect for and that I kept time for, I would put her up at the top of the class.
TP: Our next selection is by the original Chico Hamilton-Buddy Collette Sextet, recorded for Johnny Otis’ label, Tampa Records, or Dig Records, available through VSOP Replica Editions.
[MUSIC: Chico Hamilton/B. Collette, “It’s You” (1956); Tony Bennett, “Lazy Afternoon” (19 ); Gerry Mulligan, “Frenesi” (1953); Billie Holiday, “Too Marvelous For Words” (1953); C. Hamilton/John Lewis, “2 Degrees East, 3 Degrees West” (1958); C. Hamilton, “Where Or When” (19 )]
TP: That was Chico Hamilton singing, from The Three Faces of Chico, the Chico Hamilton Quintet on Warner Brothers. That’s the group that had Eric Dolphy, one of his four or five recordings with Chico, although of course not prominent on that particular track, Dennis Budimir on cello, Wyatt Ruether(?) and bass and Chico Hamilton on drums.
[ETCETERA]
Let’s begin with the Tony Bennett side and the vocal tracks we heard.
CH: At one time I played for Tony, I kept time for him, and we became friends. When I went out on my own, with my own group and everything, I happened to be on the East Coast, as a matter of fact, in Philadelphia, and I got a call from Tony. He had this idea that he wanted to get all the drummers together. He had me, Jo Jones, Art Blakey, and I forget who else was on there. He wanted to record with all of us. Tony has always been a rhythm man. He’s always had a fantastic appreciation for drums, for drummers…
TP: It had Candido, Papa Jo, Billy Exiner, Sabu…
CH: Billy Exiner was playing with Tony Bennett at that time, and Candido, myself and Jo Jones, right?
Tony asked me which one of the tracks would I play on, and some kind of way, the idea of “Lazy Afternoon” came up, and I told him I really would dig playing to see what I could do with the sort of orchestral approach to the way he was singing “Lazy Afternoon.” And it turned out gorgeous. It really turned out dynamite. We were more than pleased. That’s how that came about.
TP: That’s from The Beat Of My Heart on Columbia Records. Now, Billie Holiday spent a lot of time in Los Angeles as well.
CH: Yes, she did.
TP: Were you a regular part of her group for a while, or was that just a session?
CH: No, no, I was part of her group for a while. I played for Lady in several different groups. At one time, one group consisted of Hampton Hawes, Wardell Gray, myself and Curtis Counce!
TP: Lady Day must have had a chance to rest her chops!
CH: Man, you’re talkin’ about cookin’! We were swinging.
TP: Did you play bebop licks under her, or… How was she in that regard?
CH: Lady kept good time, so all I had to do was swing. I just played myself, you know. As a matter of fact, all of us did. That’s what we did. She was a tremendous musician as well, and she dug musicians being themselves, players being themselves. As a matter of fact, that’s how Prez named her Lady, because she was cool that way. I met her, man, when I was about 14 years old!
TP: What were the circumstances?
CH: Well, I went to a jam session over… Lorenzo Flournoy, who was a piano player at that time, who I was playing with at the time. I was just a kid, man. I knew Prez, man, and Prez asked me, “Do you want to meet Lady?” I didn’t believe it was her, man. She was at the session, right, in the house. That’s where everybody used to put on a big pot of red beans and rice and things like that, and we would blow all day long, right? She was sitting on the saxophone case, she and Prez were sitting on this case. And man, when I came up through the door and I looked at her, I said, “Hey…” I told a friend of mine, [WHISPERING] “Hey, there she is! That’s Lady.” And when we went inside, Prez introduced us. From then on, from time to time I would see her then. Then later on, I started playing for her, working for her, doing dates and everything. At one time, the group was Bobby Tucker and myself…
TP: He was the pianist.
CH: He was a pianist, a fantastic pianist. Bobby was with Eckstine. He was with B for thirty or forty years almost. When he left Lady he joined Billy Eckstine.
TP: And you worked with Billy Eckstine for a minute, too.
CH: I worked with Billy Eckstine. Also I played for… Oh, heh-heh, I played with Billy Eckstine, I played with Sammy Davis, I did some things with Danny Kaye, Ella… Oh, yeah, I forgot about Ella Fitzgerald. And I kept time for Sarah once in a while…
TP: All singers with different styles, different approaches of playing off the drums.
CH: Exactly. Here again, remembering something about Lena Horne: I was right on the floor behind Lena, and the band was behind me. It was very unusual, because here’s the singer, the drummer right behind her, and then the band, the orchestra would be right behind me. It worked. It worked beautifully. I really developed a way of playing for her to the extent it wasn’t offensive; I didn’t get in her way.
TP: Was Billie Holiday a strict rehearser, or was it just get in and hit?
CH: No, Lady was cool, man. She was cool. Every singer I have ever kept time for was very sincere about what they did. And I’m saying that in a complementary way. Whether you understand that, or reading in between the lines or whatever… It wasn’t easy playing for singers, man. It’s not easy. I have a tremendous amount of respect for any drummer that can keep time for a singer.
TP: Why is that?
CH: Well, you never know what a singer is going to do. Because some singers react differently. They react to what people… They react to the audience. If they feel as though they’re not getting to the audience, then they’re going to push, or they think…or either they’re going to fluff off something or whatever. And the first one they’re going to take it out on is going to be the drummer. “What’s the matter? Can’t you keep time?” That sort of thing.
TP: So we’re talking about temperament now.
CH: Exactly. That’s the reason drummers are cool, man. You know, a drummer sits up… When you start to realize that a drummer has to keep time for people, musicians, people he don’t even like, you hear somebody playing, somebody getting their oobies, they’re not making any music, but they’re just sounding like the teacher’s out of the room, that kind of thing — and you have keep time for that and you have to make it sound like something. You know? Because there’s only one drummer.
TP: Well, sometimes there’s two.
CH: No, you’ve only got one drummer, man. One drummer’s keeping time, man. Also, I’d just like to acknowledge the fact that people in general see conga players, timbales players, bongo players, people playing drums with their hands, and they say, “Hey, this is dynamite; that’s fantastic.” But there’s nothing, nothing in the world like a drummer sitting down playing on a set of drums, where his left foot is doing something different from his right foot, his left hand is doing something from his right hand, and the hands are doing something different from the foot, the foot is doing something different from the hands, and he’s playing on at least a half-a-dozen drums at the same time. This is amazing, man. This is really something.
TP: You were part of the Gerry Mulligan pianoless groups on the West Coast in the early 1950’s, and that was a different side of your work as well. Talk about your hookup with him and your contributions to the music as it was developed.
CH: Well…heh-heh…
TP: Uh-oh, I stuck my foot in it.
CH: No. Well, I believe that it just happened to be four people in the right place at the right time. That story is… I can go on and say, “Well, I did this or Gerry did that, or Chet did this, Chet did that,” that kind of thing. No, it just happened that we happened to be in the right place at the right time, and we got together… As a matter of fact, we got together at my house for the first rehearsal that we did. Gerry was out in L.A., and I was out in L.A. at that time. I was still under the employment of Lena Horne, but I stayed home; I didn’t want to go to Europe that year. In the meantime, I was playing with Charlie Barnet’s band, and Gerry used to come out and hang out with me every night at the bar. [LAUGHS] As a matter of fact, he said to me one night, “You know, if I was Charlie Barnet and you played for me like you play for Charlie, I’d fire you!” Because I used to do some pretty funny things with that band. Anyway, Charlie didn’t mind. He was a prince, man. He was a dynamite dude.
But Gerry and I got together, and we were talking about this and that, and next thing I know, hey, he contacts Chet and Bob Whitlock, and we get together, and we just… Like I said, man, it started happening. And it happened, from the first time we sat down to play. I would say everyone contributed, one way or the other; everyone contributed to making the quartet the way it was. That’s how it came off. That’s the reason it came off. It wasn’t just a question of Gerry Mulligan being Gerry… Well, it was a question of Gerry being Gerry, Chet being Chet, me being me, and Bob Whitlock being Bob Whitlock.
That’s putting it simple, man. Mild.
TP: Would you like to get complex? At any rate, the first track we heard featured the genesis of the Chico Hamilton group, the Buddy Collette-Chico Hamilton Sextet, from Tanganyika. You go back as far with Buddy Collette as you do with Mingus, with Dexter Gordon, and so forth.
CH: Right. We go back when we were young dudes, kids more or less, young guys on the scene. As a matter of fact, the first time I heard Buddy, Buddy had his own band, and he had Mingus playing. Mingus really started off playing cello with Buddy’s band, and Buddy made him get the bass, because he realized that the cello was a little weak, that kind of thing, trying to play cello like a full-sized bass. I went out to hear him one night, I went all the way out there to Watts, right — I’d heard about him. I asked him could I sit in, and I did. One thing led to another, and the next thing I know we were all playing in all the bands around L.A. It was interesting.
TP: How did that band develop a repertoire? Because eventually, both of you were working toward a really broad tonal palette particularly.
CH: Yes.
TP: I mean, along with swing, but it went… Talk a bit about that.
CH: What we did, virtually, in a sense, we copied every record that we heard by Count Basie and some of the Duke Ellington things and Jimmie Lunceford, but between them, Jimmie Lunceford and Count Basie are the bands that we imitated, even down to the solos, note-for-note. We even played the same solos, that type of thing. All the licks. I tried to play all the drum licks that Jo Jones would play, that type of thing. And eventually, it was very successful, because also, you must remember, we didn’t have… It wasn’t a matter of deciding whether you were going to play Rock-and-Roll, or whether you’re going to play the Blues, Rhythm-and-Blues, or whether you’re going to play Pop, or whether you’re going to play Country, or anything like that. There was only one kind of music, man, and that was Swing. So in a sense, it was relatively easy. Because hey, there was only one way to play.
TP: We forgot to play some of the sides you backed T-Bone Walker on for Imperial.
CH: Hey! He was amazing.
TP: So we’re going from T-Bone Walker to Tony Bennett to Charlie Barnet’s band to the Gerry Mulligan band…
CH: Right.
TP: You really were covering the whole spectrum of Swing music in the Forties and Fifties.
CH: Well, I’m fortunate. I’ve been fortunate, man. As a matter of fact, I’ve been blessed to be able to do that. Because it was broad. It was very broad. That’s what the spectrum was in regards to what Jazz was all about. Still, even now, what Jazz is all about.
TP: And we’ll be hearing an aspect which Chico Hamilton is defining in his group, in many ways, the cutting edge, one branch that Jazz is in the process of becoming.
CH: Well, I could go through a whole great big series of stories about, “Well, I decided to do this, I decided to do that.” But I don’t know, man… Here, again, about the original quintet with Fred Katz on cello, Buddy Collette on reeds, Jim Hall on guitar and Carson Smith on bass, here again… It’s not a copout, but I feel that it just happened to be five guys in the right place at the right time for that to happen.
TP: Things were in the air…
CH: Things were in the air, and it happened. Because no one knows why it happened. But it happened, and it worked.
[ETCETERA]
This is the first record that Eric Dolphy ever made. This is a Billy Strayhorn composition which is one of my favorites. Most people… A majority, I would say, of Eric Dolphy’s fans and audience don’t realize, or didn’t realize what a tremendous flute player Eric Dolphy was. And this is my presentation of Eric Dolphy, “Something To Live For”
TP: From Strings Attached on Warner Brothers.
[MUSIC: C. Hamilton/E. Dolphy, “Something To Live For”; C. Hamilton, “Mandrake”; C. Hamilton, “Taunts of An Indian”; C. Hamilton, “Guitar Willie”]
TP: A selection of four compositions and performances by various groups under the leadership of Chico Hamilton. That last was “Guitar Willie,” featuring the late Eric Gale from Headhunters, on Solid State, and my guess is that it was recorded around 1970. Do you recollect, Chico? Of course, being a Solid State release from that time, there’s no date, but they have a zip-code.
CH: Probably around ’68. Eric used to do a lot of commercials with me when I was knee-deep on Madison Avenue, you know, doing commercials. That’s music for commercials. Here again that was sort of unusual, because just to have the bass walking and myself keeping that time, and the horns… Steve Potts was on there, and I think…
TP: Russ Andrews on tenor.
CH: Yes, Russ.
TP: Ray Nance appears elsewhere on this release.
CH: That’s right.
TP: And Jan Arnett on bass.
CH: Jan Arnett. It was a happening.
TP: Before that a few selections by the current group, Chico Hamilton and Euphoria. Before that, a very beautiful and affecting piece, “Taunts of An Indian Maiden,” a dedication to your mother.
CH: I dedicated to it to my mother. She was an Indian maiden, you know?
TP: That’s from Arroyo, a 1990 release, with Eric Person, saxophone, Cary DeNegris on electric guitar, and Reggie Washington, one of the better electric bass players around, playing acoustic bass.
CH: Well, he’s playing electric on that. He just sounds… That’s how well he plays it. He’s one of the few fender players that can get the sound of an upright bass.
TP: Before that we heard “Mandrake,” the group’s arrangement of Eric Dolphy’s composition, one of seven compositions arranged by Chico Hamilton and Euphoria on My Panamanian Friend, the most recent release by the group.
CH: It’s an interesting thing. Jeff Caddick was the one who suggested that we do an album of Eric Dolphy’s music. And the more we got into it, the more we started talking about it, the more I realized and he realized, as much as people talk about Eric Dolphy, nobody plays his music.
TP: Well, Oliver Lake is one, and a few other people play his music, but not so much.
CH: Not that many. Hopefully this will shake them up again.
TP: The way that you arrange and set up your songs… I think if one held to a stereotyped view of a Jazz musician, and heard you from all these sessions in the Forties and Fifties, to hear the sound of your bands would seem disjunctive. But it’s obviously not. You’ve always had a predilection, for one thing, for saxophone players who like to get into the extremities of the instrument, from Eric Dolphy to Charles Lloyd to Arthur Blythe to Steve Potts to your current saxophonist, Eric Person.
CH: Well, look, to simplify it, that’s what I’m all about. I’m into sounds, and anybody that sounds different or original (which is pretty difficult) I’m for. I’m open, as far as all music… First of all, I understand fully that it takes all kinds of music to make music. I also understand that I’ve been blessed to the extent that I’m able to make music at this stage of the game of my life or my career, as opposed to just playing it. So that’s what it’s all about. Music I believe is one of God’s will, and God’s will will be done. Right? That’s the name of the game.
TP: If it’s meant to be… Well, you’re making it happen.
CH: Hey, that’s what it’s all about.
TP: A few words about the people in your group. A few words about how musicians find you and you find musicians. Eric Person, first of all.
CH: As a matter of fact, Eric was introduced to me by Arnie Lawrence. Arnie had heard Eric when he was in St. Louis. I think he was at Eric’s school. When Eric came to New York, I think he contacted Arnie, and Arnie in turn contacted me, and that was it. Right away we hit it off. I helped him to grow, and he’s grown, needless to say, and developed into one fantastic kind of a player.
TP: You may not be able to hold on to him.
CH: Well, it’s not a question of holding on. He’s supposed to go on to bigger and better things. That’s what I’m all about, again. Hey, you come this way, you pass through me.
TP: He’s currently with Dave Holland’s group and the World Saxophone Quartet as well as Chico Hamilton’s Ensemble.
CH: Well, this is good, because this gives him an opportunity to play all kinds of ways. I haven’t heard him with the other groups, but I imagine he plays different with them than he does with me. Because we play a different kind of music; a different kind of rhythm, let’s put it like that.
TP: Cary De Negris, the guitarist.
CH: Cary met me. Cary called me when he came from Albany, New York, I think. His potential I heard right away, the first time I heard him play. He has developed, needless to say, into really some other kind of guitar player. He is perhaps one of the most fluent players that’s on the scene today, period, regardless of what style or what kind of guitar playing there is to be played. He’s doing it.
TP: Finally, Matthew Garrison, the group’s newest member.
CH: Well, Matthew’s father used to play with me, Jimmy Garrison. At one time he did dates and things with me. He was brought to my attention by Cary De Negris, who heard him and said, “Hey, Cheeks, you’ve got to hear this bass player.” As a matter of fact, man, he’s so prolific, he sounds like a guitar player. He’s got chops.
TP: Well, his father had that type of fluency in his sound also.
CH: Exactly. So I’m more than pleased, man. I’m having a ball. Because hey, we’re making music.
[MUSIC: “Song For Helen” (1992)]
[-30-]
* * *
Chico Hamilton Profile (WKCR) – (1-14-96):
[RECITAL ON “In the Beginning”, Dance To A Different Drummer: “You know how this all started with me playing, the drums. I guess I was around 8 years old when my mother took me to see Duke Ellington and his Famous Orchestra at the Paramount Theater in Los Angeles, and for the first time in my life, not only did I see an orchestra, but I saw on this pyramid, the top of the pyramid, on top of the whole band was the one and only Sonny Greer. I had never seen anything like this in all my life. Matter of fact, he had so many drums, he had more drums than a drum store. But he was really something special. And that impressed me, the way he played, the way he had control of the band, and the sound he got. He was also perhaps one of the first percussionists in every sense of the word; not just a drummer, but a percussionist, a man who made sounds. Everything he touched made a sound, and it blended and it worked with what Duke Ellington had written and played. Like all kids, it was an impression that stayed with me, and I decided that’s what I wanted to be — another Sonny Greer.”
____________________________________________________________
TP: Chico, do you remember what year you first heard Sonny Greer?
CH: I don’t remember what year it was I heard the band, and I wouldn’t even tell you if I did remember! I was around 8 or 9 years old when I first heard the band.
TP: So it was probably when Ellington first came out to the West Coast, around ’30-’31.
CH: It probably was. You know, one thing about being on the West Coast, all the bands came there, not only Ellington, but Basie, Earl Hines, Benny Goodman, Dorsey — all the bands eventually came to the West Coast. A miraculous thing is the fact that the Board of Education system out there, it was compulsory to take music in all the schools in the system, whether you took a music appreciation course or rented an instrument to play or something like that. Whenever the well-known bands would come to the West Coast, they used to let us out of school to go down to the train station to greet the bands as they came in. Fundamentally, all the guys from the Royal brothers, Ernie and Marshall Royal, Dexter Gordon, Buddy Collette, myself, Jack Kelso, Charlie Mingus, all of us…
TP: Grew up in the same area.
CH: We grew up in the same area, with the same musical aspect in regards to… Like all kids, we had a band…
TP: Where exactly in Los Angeles did you grow up? Was it around Central Avenue, later the real music strip?
CH: Yeah. Los Angeles at that time was the East Side and the West Side, and I think Main Street divided L.A. into what was East and what was West. I was born on the East Side of town and then grew up on the West Side of town. Central Avenue was the street, our avenue; that was our 52nd Street. It only consisted of two or three blocks, but within those two or three blocks, man, you had everything…
TP: You’re talking about the 1930’s, now.
CH: The late 1930’s and the ’40s. They presented a big documentary about the jazz on Central Avenue not too long ago. It’s part of the curriculum at UCLA or one of the schools. Central Avenue… You had the Dunbar Hotel, and then inside the Dunbar Hotel was the Club Alabam, which was the equivalent to the East Coast Cotton Club — the same type of shows.
TP: It would have been the equivalent to the Theresa Hotel in Harlem, or the Braddock or the Woodside.
CH: Exactly. From there, that was the number-one club or joint… That was super big-time, where all the big bands played. Then right outside of Hollywood, in Culver City, there was a club, which I forget the name of. They had at least half-a-dozen big, big rooms, big joints where all the bands played, which made it very lucrative for bands to come to the West Coast, from the Palladium to the Ambassador Hotel. But Central Avenue was the avenue, man. When I was a kid, I used to burn matches and make a moustache so that I could look old enough to go in these joints. This is when Duke Ellington’s band with all these guys, Ben Webster, the people who invented this kind of music, who really did it, were on the scene…
TP: When the bands would come out, the musicians would also circulate after-hours or in other situations, and you would have contact…
CH: This is what I’m getting ready to say. After the gigs, we all hung out at a place called Lovejoy’s which was a joint on Vernon and Central, right on the corner, upstairs. Man, many a night I used to stay in there until 7 and 8 o’clock playing, jamming, and man, I’d have to rush home and go to school… I was in high school, and I’d do everything I could to get the cigarette smoke off of me. But man, we had a ball; we would have a ball. This is how I learned to play. One thing about it, the pros helped us; they helped all the young players. They would listen to you and you’d get a chance to play with them, and they would advise you, give you some tips on what to do and what not to do. Unfortunately, I don’t know whether that still happens today. It was really, really different.
When I got drafted and went to the War and came back, it was a different Central Avenue altogether — completely different. Before I went, all the movie stars and everybody used to hang out on Central. That was it. It was just like hanging out on Broadway here in New York at one time. But when I came back from the War, music had changed completely. As opposed to the Swing thing, we were into the Bebop. Miles, Diz, Bird, Erroll Garner — everybody was in Hollywood at that time.
TP: You got back when?
CH: Late ’45.
TP: Right around when Dizzy Gillespie and Charlie Parker got into Billy Berg’s.
CH: Exactly.
TP: Did you come from a musical family?
CH: No.
TP: Where did the inspiration to play music initially come from.
CH: That’s a very good question, man. I don’t know. I’ve always…music has just… First of all, I’ve never done anything else but play music, or make music, or been into music. My closest friend at the time, who is still my best friend, Jack Kelso, had a clarinet, and I figured since he had a clarinet that I’m gonna get me one; I want to play because my best friend is playing. We were both about 7 or 8 years old, something like that at that time, and that’s how it worked out. To play drums just was a sheer accident, because my older brother was fooling around with the drums in the school orchestra when we were both in grade school, and when he graduated, they didn’t have a drummer, so I just said, “Hey, since he’s my brother, I might as well play.” And I went in, sat down and started playing. I had no idea what I was doing. And the next thing I know, I had the gig, because nobody else wanted to play. Other than that…
TP: Did anybody give you lessons outside of school?
CH: Yes. A friend of mine… I don’t know if you’ve ever heard of Oscar Bradley. Oscar Bradley was on the West Coast; he was the drummer with Les Hite’s orchestra. I used to hear them play. They used to rehearse ar a playground near where I lived. Before I went into the Service, I took some lessons from Lee Young, Prez’ brother. That was about the size of it.
When I went into the Service, there was a drummer by the name of Billy Exiner, who played with Claude Thornhill. Billy taught me how to read music. He’d climb over a mountain, man! It was two camps then, and one was Black and one was White.
TP: This was at Fort McCullough.
CH: Fort McCullough, Alabama, man.
TP: It’s known infamously in jazz history because of the treatment accorded Lester Young and Papa Jo Jones.
CH: I was there, man, when that happened. But Billy Exiner taught me how to read drum music. Actually, I was more or less self-taught. Then when I came out of the Service I enrolled in the Los Angeles Conservatory of Music on the G.I. Bill. That’s when I really got serious about… Well, I was serious about playing, period. I was blessed because I always was able to hear things. I used to depend upon my ear as far as music was concerned, for arrangements, cues and things like that. The fact is that as a teenager, man, I was playing shows, burlesque shows, where you’ve really got to catch all the cues, all the kicks and things like that.
TP: Tell me more about the gigs you had when you were a teenager. When did you first play for a sum of money, and how much was it?
CH: A sum of money? It was 75 cents; like, a half-dollar and a quarter. My friend Jack Kelso and I used to play in a neighborhood band led by a man named Myers, who we called Old Man Myers. He had a family band. One of his sons played piano, another one played trumpet, another one played trombone. It was very common during that time for families to have family orchestras. Most families who were musical had a band…
TP: Such as Lester Young’s family, Louis Jordan’s family, Oscar Pettiford’s family…
CH: Exactly. So it was a very common thing. Jack was playing alto saxophone by that time, and I played drums, and we joined the band. We would rehearse and rehearse, and we’d play. As far as the gigs were concerned, we would drive for half-a-day, it seemed like, outside of L.A. to play a lot of different roadhouses. We had a kitty, and people would give us money to play certain tunes. Funny thing, the name wouldn’t be up there. They wouldn’t say “Myers’ Orchestra”. They would say “All-Colored Orchestra.”
TP: Did that mean that they could expect to hear a certain type of music? Were you expected to play in a certain way.
CH: That was the feature. They knew that at least we wouldn’t be Country music or some down-home stuff or whatever.
TP: What type of things did you play in that orchestra?
CH: We played just the regular standard music, the old standard tunes like “Stardust.” No original material. We just played time whatever was popular on the radio at that time. It was relatively simple. As far as I was concerned, I just had to keep time. He wouldn’t let me use sticks; I always had to use brushes. I’ll tell you, man, I ended up… Every important job that I got seemingly was due to the fact that I could brush, keep time, and be smooth and cool with it. Because I spent about 15 years or more just being an accompanist, playing for singers. But during that time I wanted to play with sticks and he wouldn’t let me. Every time I’d pick up the sticks he said, “Put them sticks down!”
Jack and I used to come home… Sometimes we’d make a buck-and-a-half. Riding for about four or five hours, then playing until 2 or 3 in the morning kind of thing. This was on the weekends, Fridays and Saturday nights.
TP: And you were 14-15-16 when this was happening.
CH: Yes.
TP: At the same time, you were at Jefferson High School, which had one of the most distinguished music programs among Black high schools in the country, and one of the great music teachers, Samuel Browne…
CH: Well, first of all, Jefferson High School wasn’t a Black high school. It was a school in the area, on the East Side. As a matter of fact, man, it was one of the most beautiful schools in the whole state of California. It was the duplicate of Monticello, Jefferson…
TP: Built along the lines of Greek Classical Architecture.
CH: Yes. And there was no such thing as all-Black. There were just as many White students as Black students.
TP: So the community wasn’t as segregated as it later became.
CH: The community wasn’t segregated at all. Because it was a deep mixture. I was born that way. I grew up that way. So it didn’t become…well, if you want to refer to what is a ghetto, what is not a ghetto… It didn’t become a reservation, man, until after the War, when the War started. Because as people progressed financially, they moved to different areas. In fact, the only ghetto area in L.A. at that time was one called Ball Heights, which consisted of a lot of Yiddish, you know…
TP: The Jewish neighborhood in Los Angeles was the only real enclave based on ethnicity or race.
CH: Exactly. And when those people became successful, they moved to Beverly Hills. They started up Beverly Hills.
TP: I’d still like you to talk about Samuel Browne.
CH: Well, Sam Browne was a very good instructor, a very good teacher. But I don’t think he dug me and I didn’t dig him. I didn’t really take music in school. As a matter of fact, he used to give me hell because I was gigging at night, getting to school sometimes on time, sometimes not on time. I wasn’t in the school orchestra at that time, with Dexter and Jack and James Nelson and all those guys. As a matter of fact, I was working with Lorenzo Flournoy working for Billy Berg, at his first place, called the Club Capri.
TP: This was around ’38 or so?
CH: ’38, ’39, something like that. This is before Prez left Basie. I was big-time, man. I think we were making about $37 a week, which was a lot of dough. I had my own car. I was slick. I was cool. But I was already playing… The only reason why I joined the school band was to get a sweater, which they gave you, and I could go to the games free.
TP: That band played a rather challenging repertoire. According to Art Farmer, who was there in 1945, they played Dizzy Gillespie charts at that early time!
CH: Well, yeah. See, that was after my time.
TP: What was he doing in the late 1930’s?
CH: They were playing Swing music. Some Ellington things, Earl Hines kind of things, Horace and Fletcher Henderson, those kind of charts. But here again, I never did anything with them. But the band that came out of Jefferson was a band called Al Adams during that period. We formed that band, which was myself, Dexter, James Nelson, Jack Kelso, Buddy Collette, Mingus, Lady Wilcor(?), my brother-in-law James Henry, who was a trombone player, Ernie Royal was in it. We were all about 15-16-17 years old. As a matter of fact, when Illinois Jacquet first came to L.A. he joined us, and he was about 16 at that time. Man, this band, we raised so much hell… If a union band had a gig and it was paying $5 we’d take the gig for $4 We raised so much hell with the union, they made a deal with us, and we got into the union practically for nothin’! They were so happy…
TP: Get rid of the competition.
CH: From then, we were all in union. I think we paid something like $7 to join; it was ridiculous. But then we started rehearsing at the union. One fantastic thing that happened was that all the bands when they’d come in, like Jimmie Lunceford, would rehearse at the union, so we had a chance to hear them…
TP: So you had a chance to get up close to Jimmy Crawford or Jo Jones…
CH: Oh, man, I’m trying to tell you… And next thing we know, we were doing everything that they were doing, note-for-note, beat-for-beat. We would imitate them. We started playing all the school dances, and we would sound like Jimmie Lunceford, we’d sound like Basie… It was dynamite. Because from that band, the experience I got playing with big bands, and all of us went on to different things and different areas…
I think I was around 16 years old when I got the call to Lionel Hampton’s first band, that “Flying Home” band. Man, I lasted about two or three weeks, because I wasn’t ready. I did get that experience, but I wasn’t quite ready.
TP: What were you lacking, would you say?
CH: Well, my reading was bad. I depended upon my ear at that time, and my sight reading wasn’t… I could play, man. I could swing. I could keep good time. But reading the charts, following the charts down. I couldn’t do it too well. I wasn’t quick enough. They’d waste a lot of time going over different sections just so I could get it. That’s the band where “Flying Home” became a famous thing.
But when I got fired out of that band, that turned my whole life around, my whole career. I really got serious. I’ll never forget the day that they gave me my notice… A friend of mine…well, he wasn’t a friend, but a big-time dude that knew me who was a player, said, “Listen, kid. You’re hurt now, but don’t let it get to you.” It turned my whole life around, man. I really got serious about what I was doing. From there I got drafted, and this is when I started doing my number as far as learning.
TP: In our previous show, you mentioned that in the big bands of the 1930’s, something we can’t hear properly on records is how the drummers shaped the sound of the band, like Jimmy Crawford or Papa Jo Jones or Sonny Greer.
CH: Exactly.
TP: Now, when you were in the Al Adams band, emulating the sounds of those bands, were you emulating the styles of those different drummers.
CH: Yes.
TP: So you had reached that level of proficiency.
CH: Yeah. I could play, man, and I could always keep good time. I had some funny kind of ideas as far as my solo ideas were concerned. I wasn’t a straight up-and-down kind of a player. I have never been interested in being fast, have chops like the Buddy Rich kind of thing. There’s nothing wrong with that particular style of drummer, but I’ve never been interested in it. I’m into sound. I’m into making sounds or creating sounds or inventing sounds, then taking the sounds and creating a mood. The supply and then the demand, that type of thing. But at the time, I could play just like Jimmy Crawford if we were playing a Lunceford type of tune. If we were playing a Basie type of tune, I was Jo Jones. It was groovy. It was cool.
It didn’t get confusing, man, until I came out of the Army. The first dude I heard… Man, I was in Oakland, California, playing a show, in which one of the acts was the Will Mastin Trio featuring Sammy Davis, Jr. We were doing 7 and 8 shows a day, that type of thing. Then we heard Billy Eckstine was going to play a dance that night, a Friday night in Oakland. Needless to say we couldn’t wait to get off after of the last show…
TP: This was with a band called Floyd Ray. A young Art Farmer was in it, Hampton Hawes…
CH: Yeah, Art, Hamp. I’ll tell you something funny as hell that happened when we were up there. I was taking a solo, my big moment, and Mingus came out with a hammer and started hammering on the bandstand while I was playing! [LAUGHS] I got so teed off at him, man…
Anyway, to make a long story short: We heard Eckstine’s band that night. That’s when he had Gene Ammons and Dexter Gordon, “Blowing The Blues Away”, and Art Blakey was on drums. Man, I had never heard anybody play like this before in my whole entire life! I was just flabbergasted! Art Blakey turned me completely around. I had never heard anybody play the Bebop style of drumming.
TP: How would you describe that in relation to what Jo Jones and Sonny Greer were doing in terms of your perceptions at the time?
CH: For instance, Swing, you keep a steady beat going on the sock cymbal, which is the side cymbal, or even the top cymbal — DING, DI-DI-DING, DI-DI-DING. You keep that going. DING, DI-DI-DING, DI-DI-DING, and every once in a while you might do something with your left hand. But in playing Bop the way Art Blakey played, he kept something going, DING, DI-DI-DING, but meantime, man, he’d dance between his left hand and his right foot. DE-DUM, DE-DUM, DE-DUM, BOP!! CHITTI-TI-TI-BUM, CHITTI-TI-TI-BUM. Just dancing all the way through, keeping time, and the band was hitting… It worked! I’d never had no idea of this style of playing. I was just flabbergasted.
So the next morning, back at the theater, first show, I’m playing for Sammy Davis and his uncle and his father, and we’re playing, keeping time, then all of a sudden, I decided I was going to drop one of these bombs — BOP, BOOM!! I did that, man, and Sammy’s father, his uncle, they stopped, turned around, and said, “What are you doing?!”
TP: You didn’t do that any more, huh?
CH: Oh, Ted, it was unbelievable. After the show, he came up to me and said, “Listen, son, you’re our favorite drummer. Don’t do that!” [LAUGHS] I’m just reminiscing. It was funny as hell. But I’m saying this is the first time I’d been turned around.
TP: When you heard Art Blakey, had you been to hear Charlie Parker and Dizzy Gillespie at Billy Berg’s club?
CH: I had just come out of the Army.
TP: And you went right out on that job?
CH: I went right out.
TP: Did you get to see that band during that particular engagement in December ’45 and January ’46.
CH: No, I didn’t. But I played with Bird. After that, during ’45 and ’46, everybody was out on the West Coast. And I used to jam with Bird all the time. There was a place on Central Avenue, the Downbeat, Billy Berg’s…
TP: There was a place called Jack’s Nest.
CH: Jack’s Nest.
TP: And the Finale Club in Japan-Town where Howard McGhee had a band.
CH: Yeah. Maggie was…all the guys. It was just a happening. Roy Porter and Chuck Thompson were the popular drummers around that time in L.A. when I got out. Roy was a Bebop drummer moreso than Chuck Thompson was. That’s when Wardell Gray and all those guys… It was a happening.
TP: There’s a recording from 1946 of you backing Lester Young. What was it like as you for a drummer to play behind Charlie Parker, purely on the rhythmic level? That must have really developed your conception of the instrument.
CH: Charlie was really nice to me. Well, he was nice to everybody, man. He was a brilliant man, a brilliant human being. Not only did he encourage you to play, but he gave everybody a shot, the rhythm people at least, to keep some time for him, just to play, to make a gig. All I know is hey, man, he was a helluva saxophone player. It was entirely different from me playing with Prez or playing with guys who swung in regards to this new style of playing.
Howard McGhee helped me quite a bit with getting into Bebop playing and understanding what the concept was all about, and the phrasing. That was most important thing, how you phrased, in playing this particular style of music, leaving space in the rhythm so you can fill up the holes. As a matter of fact, I don’t know anybody right now who can explain that. I can’t. [LAUGHS] It’s a style of playing that the concept came about by Diz, Bird, Monk, people like that. Strangely and oddly enough, when they left the West Coast, that particular style went East. It didn’t linger on the West Coast. Shorty Rogers and all those guys, people like that, they come out of the Kenton area, and Stan Kenton’s band was a Swing band… I don’t know, it just left. Years later when I came back and started my own thing, the quintet with the cello, flute and guitar, we were the furthest thing in the world from playing Bebop, that particular style.
[MUSIC: Prez-CH, “New Lester Leaps In” (1946); C. Hamilton Trio (Duvivier-Roberts) “Street of Drums”, “Nuttye” (1955); CH-5, “The Morning After” (1956); w/ Billie Holiday, “Too Marvelous For Words” (1956); CH-5, “Gone Lover” (1956)]
CH: This was the first time in the history of recordings that a drum and a guitar and a bass had been recorded as solo instruments alone, as the featured instruments, as opposed to being in a rhythm section. Up until that time, the rhythm section, which consisted of piano, guitar, bass, drums, was always just a section — it was never featured. The fact that we did this… Dick Bock promised to record me because of the Gerry Mulligan Quartet things. Part of the deal was that each one of us would have an album. Doing this, it was really something, because nowhere before in this particular form of music, known aa Jazz, had you heard anything like this. Guitar, bass and drums was very common in Country music and things like that, but not presented as Jazz, solo instruments.
TP: What were some of the inspirations for the idea? You mentioned playing in a lot of different situations as a professional drummer, including Chet Atkins, and you undoubtedly heard the Nat Cole Trio and others that used guitar and bass.
CH: I played with Nat Cole also. As a matter of fact, Nat played for my wedding. I can’t BS your listeners and say I had an inspiration. It just happened. The fact is, I had an opportunity to make an album, and I just thought of something to be different. Because the previous albums I’d done with the original Gerry Mulligan Quartet became unbelievably big as far as record buyers and record listeners were concerned, a different concept having a trumpet, baritone saxophone, bass and drums. So I just more or less fell into the same pattern just by having… I was very fortunate, because George Duvivier and myself at that time were working with Lena Horne, and I knew Howard Roberts and liked the way he played, so when the opportunity arose we just did it, and it came off. It came off beautifully, I thought. When you stop to consider the fact that this is 1996, it still holds up today as contemporary as far as the sound and feeling are concerned.
TP: We’ll step back and ask Chico for word portraits of some of the musicians he was associated with and friends with at different points of his career. I’d like to ask you about Lester Young’s manner as a bandleader, and the kind of relations you had with him.
CH: Let me tell you something about Prez. Prez was one of the most sensitive human beings I have ever met or heard of. He was a very sensitive man. And he was total, total music, man. Prez, Eric Dolphy, people like that… He was totally music. Prez had a tremendous sense of humor for one thing. Half the time I don’t know whether he was putting me on or putting everybody on or what. But he was cool. He was very cool. Also he was very proper.
TP: Well-mannered, you mean?
CH: Well-mannered in regards to being respectful. Prez was cool, man.
TP: Did he have a nickname for you?
CH: [LAUGHS] Yeah, he had one for me… Yeah, he was cool. In fact, Prez introduced me to Roy Haynes, and Roy and I became friends after that. But Prez would call everybody “Miss.” Miss Hamilton, Miss so-and-so; everybody was “Miss” as far as Prez was concerned. As a matter of fact, the original word “smothertucker” came from Prez, heh-heh.
TP: He had a house as well in Los Angeles where a number of people would stay?
CH: Yes.
TP: Any memories of that house? I gather it was a congregating spot.
CH: No, no… I recall when I first met Prez, it was one of those days I played hooky from school, and we were all meeting over at Lorenzo Fluornoy’s house, because he was having a session. We used to put the pots on. In other words, Lorenzo would cook a great big pot of beans or something like that, and all the musicians in L.A. used to come by his pad. This particular day I came by there, and the screen door was open, and I looked in and I saw Prez, and I saw this lady that was sitting on Prez’ saxophone case who was Lady! I told (?), “Hey, man, that’s Lady!” Sure enough, when I got into the house, he said, “Miss Hamilton, Miss Day.” That’s when I first met Lady. She was something else, man; she was really something else, too.
TP: You mentioned Mingus on the tour up and down the West Coast with Floyd Ray, coming out and banging on the bandstand during one of your solos. You went way back with him.
CH: Oh, man, we were almost kids together type of thing.
TP: You grew up near each other.
CH: Well, no. I was in L.A. He was in what they called Central Gardens, which was between L.A. and Watts. But my wife and Charlie and Buddy Collette, all went to Sunday School, all went to the same church.
TP: Do you remember which church?
CH: No. I didn’t make it! [LAUGHS] Oh, man, I guess we go back to 12 or 13 years, back when we were youngsters. People say Charles used to do crazy things, but hey, he was always like that. He was always a mischievous kid, that kind of thing. We got along beautifully. As a matter of fact, I had the pleasure of spending some time with him before he passed away…
TP: You and Mingus and Buddy Collette all knew each other, then, from back when.
CH: Right. Buddy had a great influence upon Charlie. As a matter of fact, Buddy was Charlie’s mentor. Even up until the time he had got out of Dodge, man, he would always call Buddy. Every time he had a problem or would run into something, Buddy was his mentor… As a matter of fact, Charlie was playing cello before he played bass, and Buddy talked him into playing bass as opposed to playing a cello. These guys out in South Los Angeles, they had a band, and we used to jam, and all of a sudden when the main hit came… We all auditioned for one job at the Orpheum Theater, I think it was, to play this show. Buddy had his band there, and we had our band (the Al Adams Band), and we got the job. But we needed Buddy and we needed people like that. [LAUGHS] So that’s how we all became one band. Man, they had a helluva show. The comedian was Mantan Marlan, and I forget who the big star singer…Ninah Mae McKinney… These were superstars at the time, and we were the pit band. That’s how we ended up being one very good band.
TP: In thinking of the types of influences that made the music of the Chico Hamilton Trios and Quintets have a distinctive sound, a lot of the music sounds narrative, like there’s a very specific image in mind, and it would seem influenced in many ways by your exposure to show music and those type of arrangements, film music and things like this.
CH: I’ll tell you. The years that I spent as Lena Horne’s accompanist, I was influenced very heavily by Lennie Hayten, her husband. Between Lennie Hayten and Luther Henderson, my concept as far presentation began to happen, to make things dramatic, make things un-dramatic, whatever…to start creating moods. I guess the real me started to happen. I’ve always been a different kind of player. It was totally impossible for me to try to play like Max Roach, you know, or Art Blakey or Gene Krupa, Jo Jones…
TP: That was part of the ethos of the time anyway, was for players to develop an individual sound.
CH: You took a little bit from him, you took a little bit from him, and a little bit from him, and put it all together, and all of a sudden it became you. That’s what it amounts to.
TP: By the way, on the liner notes to one of these old LPs, which are an invaluable source of information, you mentioned briefly playing with Jimmy Blanton while the Ellington band was in Los Angeles in 1941, I guess.
CH: I sure did. As a matter of fact, I had gone to the movies with my wife, who was my girlfriend at the time, and we had just come home from the movie, and it was about 5 in the afternoon, and when I walked up to the porch door, her mother came out and said, “Forrest, Mr. Ellington… They’ve been calling you all day!” And I said, “Who…?” — that kind of thing. Sitting in the car was Herb Jeffries, and he said, “Man, we’ve been waiting on you. Duke wants you to play.” Sonny became ill, and they were playing the Casa Mañana out in Culver City. Here again, man, I was about 19 years old, something like that. And man, I went out there… We came in through the backstage (because you came in through the back), and the band is playing, and the band was swinging, so man, I just knew they had a drummer up there. My heart stopped. I was sort of disappointed, because I really was looking forward to it. It turned out the band was just hitting, playing its keister off! I went up there and climbed up, way up on the pyramid type of thing…
TP: Well, with Jimmy Blanton, sometimes you might not need a drummer…
CH: Well, at that time, the band set-up was… Sonny Greer was on the top of the band. The band like a pyramid; it came down in pyramids. And way down by Duke, by the keyboard, was Jimmy Blanton. So they were playing, oh, something like “Don’t Get Around Much” or one of those tunes, and man, I just sat down and started playing and started sweeping, and next thing I know, Jimmy Blanton turned around and looked up [LAUGHS], and he says, “Wow!” Anyway, I stayed on there for a couple of weeks.
TP: Did you get drafted shortly after that?
CH: A little later, after I got married. I was about 21 years old. But one thing about young players at that time, we had all the records. Every time a record would come out, man, I had the record, and we would listen to the band. I knew everything everybody did in the band with the solos. I could hum or whistle the solos just note-for-note almost. So this made it really easy in a sense, because I depended upon my ear to play with those bands, to keep the time, because I knew the arrangements. It wasn’t a question of me reading music, because number-one, man, neither Duke nor Basie, when I joined the bands…there wasn’t one stitch of drum music. You either knew the charts, or that was it. So this is how I got around that.
TP: I think one thing about a lot of the drummers of that period, Art Blakey being a great example, is that he could take a piece of music, and then just know it and transform into his thing.
CH: Well, you develop that. That’s something you develop. For instance, the average arranger, he’d write something for the brass section, the reed section or whatever, and write something for the keyboard and bass, would then say to the drummer, “Hey, you know what to do; you’ve got it.” Because it was totally impossible for an arranger to write a drum chart, to make it swing. If it’s a march type of thing, that’s something else. That’s something different. But to write a Jazz chart and make it swing, you don’t need a drum part. You give the drummer the first trumpet part. Because that’s where he’ll make the hits. He’ll play the same kind of figures that the trumpet players would play, more or less.
TP: Dexter Gordon is another of your contemporaries from teenage years. And you mentioned on first hearing the Billy Eckstine Orchestra, it was Jug and Dexter.
CH: That’s right.
TP: I think in a previous interview you described Dexter as being a kind of pied piper as a youngster, who had his horn out all the time.
CH: We used to call him Big Stoop. [LAUGHS] Dexter. Dexter started off playing clarinet, and he constantly had his clarinet in his mouth, all over. That was it. He was just clarinet, clarinet, this type of thing. Man, no one really made the progress that Dexter did. By the time he left L.A., man, automatically he became a giant. He became something else, and he gained the respect of all the pros, all the heavyweight players — Coleman Hawkins, Ben Webster, Prez, people like that. Prez was the master. They all tried to simulate… As a matter of fact, we even tried to walk like Prez, talk like Prez, even the porkpie hat…
TP: Hold the horn sideways.
CH: What a lot of people don’t know is Prez held the horn that way because he had a problem. Most people thought he was doing that for show, but he wasn’t. He did that in order keep the pressure off his gums.
TP: That’s why he didn’t put the mouthpiece all the way in his mouth.
CH: Right. And that’s one of the reasons for the sound he got, which was a beautiful sound. That was the bottom line to it. It wasn’t a question of him doing that just for show. That was the only way he could play his horn.
We came up beautifully, let’s put it like that. As young as we were, we were all total music, too.
TP: It seems like those musical values were instilled in you right from the beginning of playing music. If you were going to go out and play in the community, you had to have certain things right.
CH: Exactly. Even today, man, you never… Music, first of all, deserves to be played well at all times, regardless of whether it’s two people in the place, or if you’re playing in the men’s room or the lady’s room. Music deserves to be played well. I grew up with this understanding. I believe that music is one of God’s will, and God’s will will be done. That’s what keeps it going forever and forever and forever.
TP: Back to Lester Young, let’s go back to Fort McCullough, Alabama, and your recollections of that experience.
CH: Man, that was a bad time period. It’s part of my past that I don’t want to… It was devastating. It was very devastating for the simple reason that I’m in the Service, I’m not in the band, but I’m attached to the band. I’m a drummer, and in my company they made me the company clerk and made me a bugler. The Drum Corps master knew that I was a drummer, but he made me play bugles, just to show you what was going on. And when Prez… Now, they attached me to the band, so I wasn’t in the band, but whenever a show came through there, I had to play the show, because they had three drummers in the band and none of them could play the show. So when Prez and Jo came through there, man, they had guys in this band that couldn’t even hold their instruments. I mean this. And these people wouldn’t let Jo Jones and Lester Young in that band. It was disgraceful. It was unbelievable. I still can’t get over it. But it’s part of my past. It’s just like a lot of other things that happened down there. [LAUGHS] I don’t want to talk about that.
TP: It sounds like the most positive thing that happened there was meeting Billy Exiner and learning how to read music.
CH: That was the most positive thing that happened to me, along with meeting some guys who became my lifelong friends. Jimmy Cheatham, for instance, was one of the guys who was in the band. But other than that… Hey, that was then. This is now.
TP: Right. And in our radio chronology, we’re around 1958 in Chico’s music. The track we’ll hear features a pianist whose name is unknown to me…
CH: Freddie Gambrell.
TP: He, bassist Ben Tucker and Chico form the trio.
CH: Listen, I met this kid in San Francisco. He’s blind, and he could play his keister off, as you will hear. This is very rare for the simple reason I haven’t recorded with piano players that much — period. I played with Art Tatum and Nat Cole, and I did a lot of things with Nat, but it was different, a big thing where he was singing…
TP: Studio productions. But with Art Tatum you played as part of the trio?
CH: Yes.
TP: Talk a little bit about playing behind Art Tatum? Was keeping all you had to do, or did you embellish? What did Art Tatum want from a drummer?
CH: Well, you’d just try to realize where he was going all the time. It was dynamite, it was cool. It was easy playing with Art, in a sense, because all you had to do was swing, keep good time, and that was it. It was just an accompanying kind of thing; that was it.
TP: You just worked with him in Los Angeles?
CH: Just in L.A. I think we played maybe the 333… Just joints all over L.A. Clubs, that is.
[MUSIC: CH w/ F. Gambrell, Ben Tucker, “Lullaby Of The Leaves” (1957); Tony Bennett, “Lazy Afternoon”; CH-5 w/ B. Collette (ts), P. Horn (as), “Take The A-Train” (1958); CH-5, Dolphy-Katz, “Something To Live For” (1958)]
CH: Beat Of My Heart with Tony Bennett was a dynamite record. Tony and I talked about that during when I was playing for Tony, keeping time for him, the combination of keeping time and playing with my own group… Matter of fact, I was in Philly, at the Showboat when they decided to do it, and I had to come up to New York. It came off beautifully. Jo Jones is on there as well. It was really something. Now, Tony has always had a good sense of time. His phrasing is really very unique. Besides, I like him. We’re friends. We’ve been friends a long time.
TP: The first track featured pianist Freddie Gambrell, who seems not to have been heard much from since. That really orchestral piano style. He’d obviously listened some to Ahmad Jamal at that time…
CH: I don’t even know if he’d heard of Ahmad Jamal then, because I don’t think Ahmad Jamal was known on the West Coast during that period. This was just a young kid, man. He was blind, but he could play his keister off. Fantastic pianist. Matter of fact, every time I would be in Frisco, there was an after-hour joint where we used to hang out called Slim’s, and we’d go in there and jam all night long. The night I came in and heard him, he was sounding so good, I wanted to play with him. So we sat up and played, and I think we played until 9 or 10 o’clock the next day, he and I and I don’t recall who was playing bass at the time. But here Dick Bock had given me an opportunity to record again, and I told him about this kid, and it all came about.
TP: A couple of points you raised. In talking about singers, you didn’t say “playing drums for”, but “keeping time for.” Tony Bennett, Lena Horne, Billy Eckstine for a minute, Billie Holiday, Nat Cole. What’s the difference between playing for a singer within an instrumental situation? Why is it different?
CH: Well, number one, you never know what a singer is going to do.
TP: Does that mean that a singer who is a skilled improviser will treat the music differently, or something less complimentary than that?
CH: Well, all respects to singers, because I learned how to play by playing for singers. It calls upon… You have to have a magic wand and you have to be able to look into the future playing for singers. Because singers are subject to do things on the spur of the moment. It all depends on what their mood is all about. If they get an idea in the middle of a phrase, if they decide they don’t want to phrase that way, it will just change automatically, as opposed to a horn player who is more or less restricted because there is just so much he can do. In other words, there are only so many keys on the instrument, and he’s only got ten fingers on the horn — or three if it’s a trumpet. Singers, first of all, have the perfect instrument, which is the human voice, and they do with what and do what with. And to keep time for them… A lot of singers don’t know how to keep time. They just sing the way that they feel, as if they were singing in the bathroom or in the shower. So in order to make it cohesive as a drummer, you have to keep the thing going so that the other players, if it’s a piano and bass accompanying the singer, make some sense out of it, so it gives them some idea of where they are at all times. Because a lot of times, a lot of singers don’t sing in tune. They have no idea that they’re not in tune, as well as singing the melody or whatever the composition is or whatever the song is.
Overall, in playing for singers, you learn how to anticipate in regards to what they’re going to do and when they’re going to do it. I played for Lena Horne for eight years, and I only saw her once from the front, and that was when we were in Madison Square Garden. All the rest of the time, the only thing I saw of her, man, was her keister. I was right behind her. I developed a system of watching her neck, and I could tell when she was going to reach for a note or something like that. Playing for Lena was something else, because you never knew what Lena might decide…you never knew what tempo she was going to do something in. She could sing, man. I have a tremendous amount of respect for her as a vocalist and for her musicianship… We’re all musicians. You don’t have to be a player to be a musician. In other words, I can’t tell you how to listen. So everybody’s a musician as far as I’m concerned.
TP: Tell me about your brief time with Billy Eckstine. Or how brief was it?
CH: With B? I did several shows with B. That had to be in the late ’40s and then the beginning of the ’50s. Well, number one, B was a trombone player, a musician, and Mr. Class. He was cool! He was one of my favorite singers, him and Johnny Hartman. B contributed a lot, man, to the contemporary style of not only singing, but phrasing and songs, good songs. B sang good songs. Everything he sang became a hit, was automatically a hit… Let’s put it this way. Everything he recorded became big.
TP: Well, he was a style-setter. Like you related the way people would wear Lester Young’s porkpie hat, everyone would try to dress like Billy Eckstine.
CH: That’s right.
TP: He had a much greater impact than people realize on the generation of people who came up after World War Two.
CH: Well, just like Sinatra influenced a lot of people, Eckstine influenced a lot of people. He was very hip.
TP: What was his manner like with the musicians? He was always supposed to be totally at one with…
CH: Oh, man, he was a sideman as far as he was concerned! He was always one of the guys, one of the dudes. B was cool. I mean that in a complimentary sense.
TP: I can’t remember if I asked you about playing with Lady Day or not.
CH: Lady? Playing with Lady was dynamite.
TP: Now, she was unpredictable, but I’ll bet there was never any question about…
CH: No, she wasn’t unpredictable as far as keeping time was concerned. Lady swung. Her and Ella were good swingers. They swung. Their phrasing was different.
TP: Would she treat material differently from one performance to the next?
CH: Not so much as Lena would. Lena would treat material different. Plus, a majority of Lena’s book, her library, her repertoire was very heavily arranged. It was really a challenge, because it was very well arranged, and we always worked with 12-to-15 piece orchestras accompanying her, whereas with Lady it was Bobby Tucker and a bass player and myself sometimes, which was cool, which really kept a free, flowing kind of thing going. With Ella it would be the same thing, small groups.
TP: So the singer would be more like a horn really in a situation like that.
CH: Well, they were. Matter of fact, one of the hippest times I can recall playing with Lady, Wardell Gray was on tenor, Hampton Hawes was on piano, Curtis Counce was on bass, and I was on drums. And man, we swung a hole in her head! I’ll tell you, we had a ball. It was a happening.
TP: So by the mid-’50s, Chico, you were working behind a lot of singers, pretty steady work…
CH: That’s the name of the game, man, steady work. Go ahead.
TP: I understand. And you came up during the Depression, when you had to have a job. That was the first order of business. But I’d like to talk about the development of the Chico Hamilton group in its various configurations. Of course you’d known Buddy Collette for a good twenty years by this time.
CH: Yes.
TP: Fred Katz.
CH: Fred worked with us with Lena Horne. Lena was doing a production number called “Frankie and Johnny”, and wherever we went we had to have a string section. We were here in New York, as a matter of fact, at the Copacabana, and it was during the “Frankie and Johnny” period, which was a huge production number, with singers and things like that. Fred Katz was the cellist in that group. We became friendly, playing together every night and that kind of thing. At that time I had no idea that Fred was a pianist as well. So to make a long story short, when I left Lena I went back to California — my mother was ill. Just playing around town, I became very disappointed in some of my old cronies who I used to play with. I didn’t feel as though they had progressed any. They were still playing the same old kind of way and the same old kind of things. I got bored.
I realized that the only way for me to play and keep it halfway interesting, I had to get my own thing started — and so I did. Originally I was going to use the French horn. There was a French horn player by the name of John Graas. I had met Jim Hall, and I knew Carson from the Gerry Mulligan days. Of course, I knew Buddy from growing up; I needed a triple-threat man to play alto, clarinet, tenor, flute. So the first rehearsal we had, unfortunately, John Graas had a heart attack, so that was the end of that. Out of left field I get a call from Fred Katz who said he was playing for a singer named Jana Mason, and would I help them out; they needed somebody to make a couple of things with them out at one of those Hollywood places. So I said, “yeah,” and I went on out, and I played two nights with them. One thing led on to another, Fred wanted to know what I was doing, and I told him about my group and about John passing. He said, “What if I come up to the rehearsal and bring my cello.” I said, “Yeah!” So he came over, made the rehearsal… It happened to be five guys in the right place at the right time. That’s the bottom
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R.I.P. Chico Hamilton (September 20, 1921-November 25, 2013). Two WKCR Interviews and a DownBeat Blindfold Test
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2013-11-26T00:00:00
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Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the '90s I had the…
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Today Is The Question: Ted Panken on Music, Politics and the Arts
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
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Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the ’90s I had the privilege of doing two comprehensive shows with Chico, one a Musician’s Show in 1994, the other a five-hour Sunday “Jazz Profiles” show in 1996. Later, I had an opportunity to conduct a Blindfold Test with Chico at his East Side Manhattan apartment. I’ve appended the full transcripts below.
* * *
Chico Hamilton Musician Show, WKCR, July 20, 1994:
[MUSIC: C. Hamilton, “Around The Corner” (1992)]
TP: We’ll be creating sort of an oral autobiography. Chico is surrounded by records, of which we won’t get to a fifth. It covers the Los Angeles scene in the 1940’s and 1950’s, and a variety of people. The first selection cued up is “Tickletoe,” by the Count Basie, featuring the man who drummed like the wind, Papa Jo Jones, who seems to have been the person who influenced your approach more than anyone else.
CH: That’s absolutely correct, Ted. As a matter of fact, Jo… Actually, the first drummer I ever saw was Sonny Greer, and I was very impressed with him. I was a youngster, about 8 or 9 years old. But when I started playing, which was I guess 9 or 10 or something like that, and when I was in junior high school, all of a sudden Count Basie’s orchestra came on the scene, at least on the West Coast. We began to get his records. Then when I heard Jo Jones… Because Jo completely turned the rhythm aspect of drumming completely around, you know, with the sock cymbal. As a matter of fact, that last composition that you opened up with, “Around the Corner,” was sort of dedicated to Jo Jones and the Count Basie era because of the sock cymbal, you know.
TP: Let me turn the conversation to a few things you touched on in those few sentences. You came up in the Los Angeles area, and when you were ten years old it would have been around…
CH: Well, I’ll tell you. It was two weeks before baseball. How does that grab you?
TP: Do you care to elaborate on that one?
CH: [LAUGHS] Well, I started playing in the late Thirties and early Forties, more or less the early Forties. I guess when I was around 13-14 years old, we had a band, a big 15-piece band. It was under the leadership of a guy by the name of Al Adams, and the only reason why he was the leader is because he was the oldest. I think he was about 19 at the time.
TP: What was the age range?
CH: The age range was from 14 to about 19.
TP: From all over Los Angeles or from the neighborhood?
CH: From the neighborhood and from all over. We had guys like Dexter Gordon, Illinois Jacquet, Ernie Royal, Charlie Mingus, myself, Jack Kelso, Buddy Collette…
TP: Now, for those who aren’t familiar with the West Coast, tell us about the neighborhood, as specifically or as generally as you want to, and the circumstances by which you met, some of the factors in your musical education and so forth.
CH: Well, I don’t know how it was throughout the rest of the country, but in L.A., in the school system, you were required to take music, either Music Appreciation or an instrument or something. It was in the curriculum. You had to be involved with music. Regardless of whether it was junior high school or high school, you had to become involved in music. And at that time, L.A. wasn’t a very large place. As a matter of fact, everybody just about knew everybody. Young guys, young musicians will always be able to get together or find one another, just as they do today. That’s how it really came about. Also, we came out of Jefferson High School, which most of us attended. Buddy and Mingus, of course, were from the Watts area. But the school actually was the common denominator.
TP: There was a very prominent teacher at Jefferson High School, I recollect.
CH: Yes, his name was Samuel Browne, the music teacher there, who virtually, in a sense, encouraged all of us to become good musicians. At that time also, man, it was an unbelievable amount of… All the bands would come to L.A. As a matter of fact, they would let the kids out of school, man, when a band would come into town, which they virtually would come in on the train… They would let us go down to the train station to see Count Basie, Jimmie Lunceford, Benny Goodman, Earl Hines, all the bands.
TP: Where did they play?
CH: Well, there were several places, big cabaret dance halls, virtually. I guess they were called nightclubs, but they were big places. The Casa Mañana(?), the Palladium, the average dance hall name, but…
TP: So you’d have a band, a film, a couple of dancing acts and comedians and so forth…
CH: Well, at that time, most of the bands carried their own show. For instance, when I joined Count Basie’s band, Jimmy Rushing was singing, I forget the lady singer now…
TP: Helen Humes?
CH: Helen Humes. And the dance team that they had was the Berry Brothers, Coles & Atkins, and Pot, Pan and Skillet. All of these were fantastic dance acts. And that would consist of the show, sort of a semi-vaudeville type of show, but the band would be the feature — and they played all over the country. At the Avedon, which was a ballroom, this is where the bands that came in would play, and we all had an opportunity to hear Lunceford and Basie and Duke.
I consider myself very fortunate, Ted, because I came up during the right time. Because to be able to hear the originals, the people who invented this particular style of music, this way of playing… You know, I was there.
TP: I think one thing that’s misunderstood because of the nature of the recording process in the 1920’s and Thirties and early Forties is what the drums sounded like in the big bands and the actual presence of the drums. If you hear them on records, they sound kind of tinny or in the background, but I’ll bet that’s not what it sounded like when you heard Sonny Greer with Ellington, or Jo Jones or Jimmy Crawford…
CH: All of these guys, man…the drummer… You know that old phrase about “give the drummer some.” All of these guys, all of these drummers, all of these great, brilliant musicians, the drummers were determining the styles of the band. It wasn’t so much what the bandleaders were doing. Jimmie Lunceford used to conduct with the baton. Basie, sure, played piano; Duke played piano. But the actual sound of the rhythm, the feeling, the whole mood that was created by the bands was created by these drummers.
Now, Sonny Greer played a particular style of drumming which was like what we might refer to…your listeners might not understand about playing on the beat, one-two-three-four, two-two-three-four. He played DJUN-DJUN, DJUN-DJUN, DJUN-DJUN, DJUN, DJA-DJUN, DJUN-DJUN, DJUN-DJUN, CHOO-CHI-TU, that kind of a thing. Now, the Ellington band swung in that groove. Whereas with the Basie band, Jo Jones did DIT-DI-DANG, DIT-DI-DANG, DIT-DI-CHANG, DIT-DA, DIT-DA, and he swung that band with a completely different feeling than what Ellington had.
Strangely and oddly enough, even bands of today, here, what is this, 19…what year is this…?
TP: 1994.
CH: Here in 1994, a large ensemble still plays with either one of those two grooves, as far as the Jazz aspect is concerned.
TP: When did you start playing drums? When you were 15 or 16?
CH: Well…
TP: In the 1960 Encyclopedia of Jazz it says you started out playing clarinet.
CH: I did. I started out playing clarinet. And the reason I started out playing clarinet is because my best friend, Jack Kelso, played clarinet. So having my best friend play clarinet, I figured, “hey, I’d better…I want to play clarinet.” But I soon gave it up because it became a little bit difficult, you know… Also my older brother was playing drums. This was in grade school, so we had to be no more than 8 or 9 years old. When he… They graduated from grade school in those days, right! So when he graduated, I figured, well, since he was my brother and plays the drums, I’m going to play the drums. And I just started. I had no idea what a drummer did really, but I just said, “Hey, I’m going to do it,” and I just did it.
TP: You did it on his pair of drums?
CH: Well, it was the school drums. The school had the drums. As a matter of fact, we rented the clarinet for two dollars a week (can you believe that?) from the school.
TP: That was a lot of money then.
CH: Oh, tell me about it, man. Tell me about it. That’s virtually, in a sense, how I got started. The more I got into playing and the more I got into the instrument, the more difficult it became, and the more difficult it became, all of a sudden, I realized, “hey, this is it; this is what I’m going to try to do.” I started reaching out, and everyone helped me. Everyone. Everyone I played with.
TP: How would they do that? Talk about how musicians would help a young musician coming up, what the scene was like for a young musician in Los Angeles in the Thirties and early Forties.
CH: Well, in those days, there was a camaraderie, a relationship with musicians. You know, strangely and oddly enough, as young as I was, people like Jo Jones and Lester Young, people like that, the Charlie Parkers, they weren’t that much older than we were…
TP: You’re a year younger than Charlie Parker.
CH: Well, I probably was older than Charlie. I just mentioned him… But the fact is that Bird influenced me tremendously, when I came out of the service, in California. He and Howard McGhee virtually introduced me to what the Bebop scene was all about.
But back in the early days we were very much influenced by anyone that we heard, especially the ones with the names that came to the West Coast. And once the guys came out to the West Coast, it was… Everybody was friendly, everybody was warm. And we jammed a lot, man. We jammed all day and all night long! It was unbelievable, the amount of time we put in the jam sessions. That’s how we learned to play. If it wasn’t happening, somebody would pull your coat and say, “Hey, listen, why don’t you try doing this” or “why don’t you try to do that” or “Why do you want to do this?” — that kind of a thing.
TP: This is the Musician’s Show, and you’ve been listening to Chico Hamilton tell you about coming up there in the Thirties and early Forties as a young drummer. First on cue is “Tickletoe,” the Basie band with Papa Jo Jones. It also said in your biography that you studied with Papa Jo while you were in the Service in the first half of the 1940’s. Tell us about that, and then let’s get to some music.
CH: Well, I’ll tell you how dumb the Army was. [LAUGHS] I was already drafted, I was already stationed at Fort McCullough in Alabama, right. I wasn’t in the band, but I was attached to the band, which means that… They had four other drummers in the band, but none of them could play. They virtually really… I mean this. They couldn’t play. So whenever a show came through, they would send for me, and make… They put me in the drum-and-bugle corps. Now, I came into the Service carrying my drum under my arm. This is the truth, man! And you know, when they put me in the drum-and-bugle corps, do you know what they did? They made me play bugle! [LAUGHS]
Anyway, to make a long story short, when Jo Jones… This is why I’m saying how dumb it was. When Jo Jones and Prez, Lester Young, when they came through there… They were drafted, and they came through the same camp, man. They would not let them in the band! Man, it just broke my heart. They made them… At one time they wouldn’t even allow them to even associate, and come to the band room and things like that. Well, anyway…
TP: Well, Lester Young’s bad times in the Army are very well-documented.
CH: Well, they gave Prez a terrible time, man. First of all, he was a beautiful human being, man. He was a tremendously warm, sensitive human being, and so was Jo. What their contribution to what we call Jazz today, or in the Swing or whatever era…it will never be duplicated. Because try as you might, there’s no one that could get that sound and get that feeling Jo had or could get playing, and the same thing applied to Prez. But in the Service, I had a chance to get with Jo quite a bit when he would come off doing the daily Army thing. We’d get together at night, and we’d jam, we’d play, we’d practice. We would talk drums constantly, and talk music. It was priceless.
[Basie, “Tickletoe” (1940); Ellington, “Ring Dem Bells” (1931); Basie “Topsy: (1938); Lunceford, “Tain’t What You Do” (1939); Prez/Shadow Wilson, “Indiana” (1944); Prez/Chico, “Lester Leaps In” (1946); C. Hamilton Trio, “Tickletoe” (1992)]
TP: We covered quite a bit of ground on that last set of drummers.
CH: Well, just about. Music is very broad, Music is very big, Music is very long, and Music is very beautiful…
[ETC.]
TP: The 1946 performance of “Lester Leaps In” featured Chico’s long-time partner, bassist Red Callender.
CH: As a matter of fact, Red and I did quite a bit of playing together when I was out on the West Coast, when I was out in L.A. I just want to establish a fact that what the people here in New York, the East Coast people, everything they consider the East Coast Sound, which was a big thing, I guess, in the Fifties or Sixties regarding the East Coast versus the West Coast… How that originated, how that came about, I think it was in the Fifties or early Sixties, there was a club here in New York, Basin Street East, and for the first time I was coming east with my original quintet with the cello, with Fred Katz, Carson Smith, Buddy Collette and Jim Hall. We were playing opposite (are you ready?) Max Roach’s original quintet with Clifford Brown and I think it was Harold Land, and Richie Powell and George Morrow. So in order to stir up some…to hip business up, to make it a happening, the publicist started the East Coast versus the West Coast…
TP: Harold Land, of course, was from the West Coast.
CH: He was from the West Coast. But that’s how that East Coast-West Coast thing really got started.
But in the meantime, getting back to Red Callender, Gerry Wiggins, people like that on the West Coast, there was a definite… We had a very definite way of playing, a style, a West Coast style of playing. It’s just like they had a style, all the Kansas City musicians, the musicians from the Midwest — they had a particular style, a way of playing. They swung very heavy, right? Guys on the East Coast, they had their own thing going. I’m speaking before the Bebop Era came in…
TP: How would you put into words the Southwest sound?
CH: Well, the Southwest sound was more… The prime example is Count Basie, the Count Basie Orchestra. There was a band by the name of Nat Towles and Snookum Russell…
TP: Now, did those bands come to California?
CH: No, they didn’t make it to the West Coast. But this was a Midwest type of band. Because during the War years, the early part of the Forties, I sort of left the Service for a quick minute [LAUGHS], and went out on the road with Snookum Russell’s band in the Midwest.
TP: That’s the band J.J. Johnson left Indianapolis with.
CH: That’s right.
TP: What was that band like?
CH: It was just a swinging thing. Just out-and-out swing. I realize today when I use that terminology, “swing,” that a lot of young people don’t know what I’m talking about. But unfortunately, there’s no substitute for it. Because whether you’re playing Rock-and-Roll, whether you’re playing Pop, or whatever you’re playing, it’s got to swing. In other words, it’s got to have a pulse to it, to make you feel like, hey, snapping your fingers or patting your foot. That was the one thing that the Swing Bands did do, man. You couldn’t… It was hard for anyone to keep still when you’d listen to one of those bands.
TP: Also, in Los Angeles, a lot of the Black community came from the Southwest and the South Central parts of the United States, and subsequently settled there. So it seems to me a lot of that sound came into the Los Angeles sound in a certain way. True or false?
CH: Not necessarily. Not during those days. I don’t know… The fact that I was born there… Well, just from my generation up is what I’m familiar with in regards to what music was all about, what Jazz was all about. And the majority of those guys…
TP: They were from L.A.
CH: They were from L.A. Before then, who knows? We all came from…
TP: I was thinking about people coming for jobs in the Navy yards…
CH: Oh, no. Well, this was before then. That started when the War started; people would come there for gigs. But most musicians, if they came there, man, they came there to play. Because there was a zillion places to play at that time.
TP: Let’s talk a bit about the scene in Los Angeles towards the end of the War and the years right after. A lot of musicians also moved to Los Angeles who lived there for long periods of time, like Lester Young, who we heard you with, or Art Tatum…
CH: That’s right.
TP: …and many other people.
CH: Well, after the Service… I think I got out of the Service around 1945. But I came back to L.A. Before I went into the Service, the Swing thing was the thing, the Swing beat — [DA-DANG, DAT-DA-DANG], that was it. Right? When I came out of the Service and came back to L.A., I heard and saw for the first time, and just was blown away completely by Charlie Parker, Miles Davis, Erroll Garner, Howard McGhee, Teddy Edwards, Roy Porter, people like this. Man, this was a whole, brand-new kind of thing to me, man. Because I was down South, and I just only knew one way of playing. And to come back to the West Coast and start hearing Bebop, man, it was just absolutely amazing.
TP: Were you hearing the records when you were in the Service, as they came out…
CH: What records?
TP: Oh, you didn’t get any of those records. Okay.
CH: [LAUGHS] Those records didn’t come that far down there! No, unfortunately we didn’t have that opportunity to hear the records. But it was really amazing. As a matter of fact, man, I was fortunate enough to get a job, join a band by the name of Floyd Ray. In Floyd Ray’s band, there was a piano player by the name of Hampton Hawes, there was a trumpet player by the name of Art Farmer, and his brother, Addison Farmer, played bass. The tenor players were J.D. King, Bill Moore. People like this. It was a big band. We played for… As well as playing dances and things like that, we played shows at theaters. We were playing a show, and headlining the show was this little kid from Detroit by the name of Sugar Chile Robinson. We used to think it was a midget; he was a piano player. The Emcee of the show, who carried the whole show and the dance team, was the Will Mastin Trio, featuring Sammy Davis, Junior. Man, we were playing all up and down the West Coast.
We happened to be in Oakland, and this was maybe like on a Friday night… We heard that the Billy Eckstine band was coming to town to play a dance. And in that band was Art Blakey [PRONOUNCES “Blakeley”], Dexter Gordon and Gene Ammons. I’ll tell you, man, you talk about getting blown away! I had never in my life heard anybody play like Art Blakey! Right? And I was so influenced, carried away by his playing, that the next morning, when we were doing our show, I started trying to play…dropping bombs, as we say, playing Bebop licks on the drums. And man, I almost got fired, because Sammy Davis’ father told me…he said, “What the hell are you doing?!”
But anyway, that was my first really introduction to playing Bebop music. Hearing Art Blakey, man, was just… He turned me completely around. Whereas Jo had set things up in the beginning, he and Sonny Greer, Art Blakey really turned me around.
TP: He gave you a sense of the feeling.
CH: Oh, man, did he ever! Art Blakey was a brilliant, brilliant master percussionist. He was just an out-and-out hard-swinging drummer.
[D. Gordon/T. Edwards, “Blues In Teddy’s Flat” (1947); Bird, “My Old Flame” (1947); Dexter/Wardell, “The Chase” (1947); Howard McGhee, “Thermodynamics” (1946); Eckstine, “Blowin’ The Blues Away” (1944); Hamp/Mingus, “Mingus Fingers” (1947)]
TP: …after “Mingus Fingers” we heard the Billy Eckstine band, the tune Chico Hamilton said was the first he ever heard the band do, “Blowin’ The Blues Away.”
CH: Talk about blowin’ the blues away, man; it really blew me away, man! That was the band I heard in Oakland, California, I think it must have been in 1945, 1946. Man, can you imagine hearing a band like that? It was unbelievable. Unbelievable.
TP: That was a radio broadcast, and Art Blakey’s sound really came through well on that one.
CH: It was fantastic, especially in regards to the fact that they only used maybe a microphone for the reed section and one mike for the brass, and that was it — the rhythm section had to go for itself. The band was swinging, man. It was cookin’. You know?
TP: And I’m imagine they were playing for dancers as well, so there was a whole ambiance that doesn’t exist today.
CH: Well, that’s something that… For instance, every band…Count Basie… Basie had that thing that he knew the right groove to make you dance, want to dance. Jimmie Lunceford had that groove that would make you want to dance. Jimmie Lunceford’s rhythm was basically in a two-beat kind of thing. Basie’s was a 2/4. Duke Ellington? Once in a while you felt like dancing to Duke’s music. But Duke’s music, you listened to it more, in regards to, hey, you just cooled and listened to the amazing arrangements and the brilliant playing of the players.
TP: It seems to me that Ellington had different sets for different audiences, and he could pull out so many things.
CH: Well, different strokes for different folks!
TP: Before that we heard Howard McGhee on a couple of classic Bebop sides, “Thermodynamics,” featuring his virtuosic trumpet from 1947, with Jimmy Bunn on piano, who was present on a lot of these early West Coast dates.
CH: I knew some of Jimmy’s relatives, as a matter of fact. Jimmy’s cousin was a good friend of brother’s, Bernie Hamilton, the actor. Jimmy Bunn is still playing. He’s still in California, and he’s still playing very-very-very good. He perhaps was one of the most underrated players as far as recognition was concerned. But at one time, Jimmy Bunn, nobody in L.A., you know…
TP: He had first call, is what it sounds like.
CH: Exactly. If you couldn’t get Jimmy… Then when Hampton Hawes started coming on the scene, Hampton began to get all the calls. Also in there was Dodo Marmarosa. Dodo was originally from Pennsylvania someplace, but…
TP: Pittsburgh, I think.
CH: Pittsburgh, yeah. But man, Dodo could play, too.
TP: And he recorded with many people, including Charlie Parker.
CH: Yes, he did.
TP: Jimmy Rowles was active in Los Angeles at that time.
CH: Jimmy Rowles. My man, Jimmy Rowles! I haven’t seen Jimmy in quite a while, but last time I heard, he and his daughter were playing together. His daughter, Stacy, plays trumpet.
TP: Before “Thermodynamics” we heard “The Chase,” one of the most famous sessions of that time, also for Dial, recorded in 1947, with Jimmy Bunn, Red Callender on bass, and Chuck Thompson, a very active and strong drummer.
CH: He was a very good drummer. Very good. As a matter of fact, Chuck is still playing. And you mentioned another drummer on the West Coast…
TP: Roy Porter?
CH: I don’t think Roy is playing any more. But before Roy you mentioned…
TP: On one of these tracks?
CH: On one of the tracks.
TP: Well, Roy Porter played with Howard McGhee. And… Well, I don’t know who that was.
CH: He played with the Hampton Hawes Trio.
TP: Oh, Larence Marable.
CH: Larence, yeah!
TP: He was very active, and he’s now going out with Charlie Haden’s group amongst others.
CH: Hey, Larence is a fantastic player.
TP: He’s someone who had an impact on Billy Higgins when Billy Higgins was coming up in the Los Angeles area. Before “The Chase” we heard “My Old Flame” by Charlie Parker for Dial; Bird cut many sides for Dial while in Los Angeles. And we began the set with Dexter Gordon and Teddy Edwards, another tenor duel called “Blues In Teddy’s Flat” with Jimmy Rowles, Red Callender, and Roy Porter
Again, we have this combination of native Los Angeles musicians, and musicians who settled in Los Angeles from other places, like Teddy Edwards, who came from Jackson, Mississippi to Detroit to Los Angeles, or Howard McGhee, who was from Oklahoma, Detroit, then Southwest bands into Los Angeles. I’d like to ask Chico for brief portraits of some of your contemporaries. Let’s begin with Charles Mingus, because you knew Mingus when he was very young. How old were you when you first met? Do you remember?
CH: Well, let me see. I don’t know, I suppose I was about 10 or 11, something like that — 11 or 12. As a matter of fact, Charlie Mingus and my wife went to Sunday School together, attended the same church. Do you believe that?
TP: Which church was that?
CH: It was some church in L.A. I don’t recall the name of it. Buddy Collette and his family attended that church, and Mingus’ family, and my wife’s family attended the church. So actually she knew Mingus before I did. But we were unbelievably young, and unbelievable at that time as young players, as young dudes. We thought we were… As a matter of fact, some of the joints we played, we’d have to disguise ourselves to look older because of the booze thing. But Charlie and I came through a lot of wars together as far as playing on the bandstand. He developed into a very uncanny kind of a musician. I guess that’s my way of saying how brilliant he was. It hurts me, the fact that Charlie had to die a pauper. Because what he contributed to this thing called Jazz and this thing called Music, unfortunately, he really didn’t receive any of the benefits while he was alive.
TP: Some of the things that he wrote… “The Chill Of Death” which he recorded in 1971, was written, I think, when he was 17 years old! Do you remember these pieces, or seeing them? Did you talk about music or his compositions a lot?
CH: Well, you know, every conversation Charlie and I would have would be off the wall! I was never surprised at anything he would say or anything he would do…
TP: Or come up with musically.
CH: Or come up with musically. And I guess he might have thought about me the same way. A funny thing, though, when I came out of the Service, all of these guys, Charlie and Buddy, John Anderson and guys like that, they had gotten re-established again out in L.A. on the famous Central Avenue, and I had to come out… Nobody knew who I was, and I had to sort of establish myself all over again. I got pretty lucky, because I ended up being the house drummer for Billy Berg’s.
TP: A famous club where a lot of Jazz history was made.
CH: All the Jazz, that’s where it was.
TP: That’s where Bird and Diz came through when Bebop first hit the West Coast.
CH: Bird and Diz, right. That’s when I began to play for all the singers, too, at that time.
TP: What were the chain of events that led to that? It couldn’t have been just luck.
CH: Me playing at Billy Berg’s?
TP: To be the house drummer, especially then, you had to be versatile, be able to basically play anything, read, and so forth.
CH: Right. Well, I’d played for him before I went into the Service. He used to have a club called the Club Capri, before Billy Berg’s. As a matter of fact, at the Club Capri, this is when I first… Norman Granz used to be like a go-fer for all the guys. [LAUGHS] You know, he ends up being a zillionaire, an entrepreneur. But anyway, to make a long story short, at the Club Capri, that’s where Lorenzo Flournoy’s band, Red Mack’s band, Lee and Lester Young… When Prez first left Basie’s band, his brother Lee Young had a small group. These were all small groups, no bigger than five or six pieces, seven pieces at the most. Billy Berg’s was the number-one room in Los Angeles at that time. That was it. If you played that room, it was fantastic.
The other room that was called the 331 or the 333, I forget…
[END OF SIDE 2]
…of my playing, of my career, I played with this guy named Myers, Old Man Myers. He kept me on brushes. He wouldn’t let me play sticks at all, man. We would go out and play at least three or four nights a week. Right? I was lucky enough to make… He’d pay me like maybe 75 cents, I mean, really 75 cents! — we were lucky if we made a dollar. But I would play brushes constantly. Constantly. Every time I’d get ready to pick up the sticks, he said, “Put those sticks down!” So fortunately, that helped me to develop a stroke that swept me into some of the choicest gigs at that time.
TP: This conversation evolved from word portraits of some of your associates in Los Angeles at this time. I’d like to ask you about Dexter Gordon, who was a few years younger than you, but came up around the same time.
CH: Well, can you imagine… When Dexter was about 10 years old, he was already twelve feet tall. Then he shrank! We used to call him Big Stoop, from the character in the comic strip Terry and the Pirates — if anybody remembers that.
Anyway, Dexter and I… You might not believe this, but Dexter Gordon and myself, and a trombone player by the name of James Robertson, we were the only three guys, three people period, to get an A in English in high school. That was the toughest teacher in the whole entire system. Her name was Mrs. Smith. And Dexter and myself and James Robinson got an A in English, man!
As a matter of fact, Dexter started off playing clarinet, and he used to play clarinet, he used to come on the campus… Dexter was like the pied piper. Dexter would play his horn anywhere, in the hall, in the room, it didn’t matter — all over the school. And he loved Prez. He just adored…
TP: Took apart the solos and…
CH: Everything was note-for-note. So that’s how we learned to play, virtually, in a sense, by copying the masters, the people who invented that way of playing. But Dexter was, again, a brilliant, fantastic, inventive kind of player. And to be among this kind of talent, you know, you just took it for granted that, hey, he could play, I could play, Ernie Royal could play, you know…
TP: And you went out and played.
CH: And we went out and played.
TP: And then things happened, people heard you, and that’s how…
CH: Exactly.
TP: A few words about Red Callender.
CH: George “Red” Callender. George was a little older than myself and Mingus and Buddy and Jack Kelso. But we had a tremendous amount of respect for Red, because Red was the big-time already. When we got on the L.A. scene before the war, well, Red Callender had been playing with Louis Armstrong and playing with all the big names. And the fact that he was local, he was in L.A., and we… He was… You know, just to be in his presence was something. It meant something to us. We all befriended each other, and we came up this way.
As a matter of fact, at one time Red Callender, myself and a piano player by the name of Dudley Brooks, we were the only three Black musicians that were ever hired by the studios out there; actually put on staff, you know, at Paramount Studios at one time. Because at one time it was a no-no. But we got a job… I was playing for… It was equivalent to being the rehearsal player. I was like the rehearsal drummer. I used to keep time for people like Marilyn Monroe, Sherrie North, I used to work with all the dance directors out there, keeping time for them while they got their act together. But it got boring after a while, and I split.
TP: But the money must have been nice.
CH: Hey, man, listen. It was steady. Right? To get paid every week? It was unbelievable, man. But I don’t know, man, I was always pretty fortunate. I was able to… I’ve been lucky, blessed, because I’ve been always able to have a gig.
TP: Well, it seems you’ve been very flexible and adaptable as well, and yet very determined, and with very definite sounds in your mind’s ear.
CH: Well, I’ve always, first of all, been very proud of my profession. Like, I’m a professional musician, just like a doctor is a professional or a lawyer is a professional. I’ve been very, very highly… Well, this is what I do. In other words, this is the jokes, folks. And I don’t fluff it off. I never blow a gig, man. Whether I sound good or bad or indifferent, man, I’m playing my heart out. I’m playing the best that I can at that time. And that’s it. That’s the way I came up. And I believe in music. I believe in what I’m doing. People are always wondering what I’m going to come up with next. I have no idea what I’m going to come up with next. But I know that when the time comes for me to come up with something different, or change, I will change. I don’t like to get bored.
TP: Well, you were the envy of hundreds of thousands of men as the drummer with Lena Horne for five or six years. The listing is ’48 to ’54, approximately. Is that right?
CH: No, as a matter of fact, ’47 to ’55, I think it was. I’ll tell you, playing for Lena was truly an experience. I give her a tremendous amount of respect and a tremendous amount of credit in regards to her musicianship. Most people don’t realize what a fantastic musician this woman is. And through her, and with her, her late husband, Lennie Hayten, and Luther Henderson, I had an opportunity to really learn what music was all about, how to express what you feel and what you think. Even to this day, man, we’re still friends. I don’t see her that often. But as one of the singers that I had a tremendous amount of respect for and that I kept time for, I would put her up at the top of the class.
TP: Our next selection is by the original Chico Hamilton-Buddy Collette Sextet, recorded for Johnny Otis’ label, Tampa Records, or Dig Records, available through VSOP Replica Editions.
[MUSIC: Chico Hamilton/B. Collette, “It’s You” (1956); Tony Bennett, “Lazy Afternoon” (19 ); Gerry Mulligan, “Frenesi” (1953); Billie Holiday, “Too Marvelous For Words” (1953); C. Hamilton/John Lewis, “2 Degrees East, 3 Degrees West” (1958); C. Hamilton, “Where Or When” (19 )]
TP: That was Chico Hamilton singing, from The Three Faces of Chico, the Chico Hamilton Quintet on Warner Brothers. That’s the group that had Eric Dolphy, one of his four or five recordings with Chico, although of course not prominent on that particular track, Dennis Budimir on cello, Wyatt Ruether(?) and bass and Chico Hamilton on drums.
[ETCETERA]
Let’s begin with the Tony Bennett side and the vocal tracks we heard.
CH: At one time I played for Tony, I kept time for him, and we became friends. When I went out on my own, with my own group and everything, I happened to be on the East Coast, as a matter of fact, in Philadelphia, and I got a call from Tony. He had this idea that he wanted to get all the drummers together. He had me, Jo Jones, Art Blakey, and I forget who else was on there. He wanted to record with all of us. Tony has always been a rhythm man. He’s always had a fantastic appreciation for drums, for drummers…
TP: It had Candido, Papa Jo, Billy Exiner, Sabu…
CH: Billy Exiner was playing with Tony Bennett at that time, and Candido, myself and Jo Jones, right?
Tony asked me which one of the tracks would I play on, and some kind of way, the idea of “Lazy Afternoon” came up, and I told him I really would dig playing to see what I could do with the sort of orchestral approach to the way he was singing “Lazy Afternoon.” And it turned out gorgeous. It really turned out dynamite. We were more than pleased. That’s how that came about.
TP: That’s from The Beat Of My Heart on Columbia Records. Now, Billie Holiday spent a lot of time in Los Angeles as well.
CH: Yes, she did.
TP: Were you a regular part of her group for a while, or was that just a session?
CH: No, no, I was part of her group for a while. I played for Lady in several different groups. At one time, one group consisted of Hampton Hawes, Wardell Gray, myself and Curtis Counce!
TP: Lady Day must have had a chance to rest her chops!
CH: Man, you’re talkin’ about cookin’! We were swinging.
TP: Did you play bebop licks under her, or… How was she in that regard?
CH: Lady kept good time, so all I had to do was swing. I just played myself, you know. As a matter of fact, all of us did. That’s what we did. She was a tremendous musician as well, and she dug musicians being themselves, players being themselves. As a matter of fact, that’s how Prez named her Lady, because she was cool that way. I met her, man, when I was about 14 years old!
TP: What were the circumstances?
CH: Well, I went to a jam session over… Lorenzo Flournoy, who was a piano player at that time, who I was playing with at the time. I was just a kid, man. I knew Prez, man, and Prez asked me, “Do you want to meet Lady?” I didn’t believe it was her, man. She was at the session, right, in the house. That’s where everybody used to put on a big pot of red beans and rice and things like that, and we would blow all day long, right? She was sitting on the saxophone case, she and Prez were sitting on this case. And man, when I came up through the door and I looked at her, I said, “Hey…” I told a friend of mine, [WHISPERING] “Hey, there she is! That’s Lady.” And when we went inside, Prez introduced us. From then on, from time to time I would see her then. Then later on, I started playing for her, working for her, doing dates and everything. At one time, the group was Bobby Tucker and myself…
TP: He was the pianist.
CH: He was a pianist, a fantastic pianist. Bobby was with Eckstine. He was with B for thirty or forty years almost. When he left Lady he joined Billy Eckstine.
TP: And you worked with Billy Eckstine for a minute, too.
CH: I worked with Billy Eckstine. Also I played for… Oh, heh-heh, I played with Billy Eckstine, I played with Sammy Davis, I did some things with Danny Kaye, Ella… Oh, yeah, I forgot about Ella Fitzgerald. And I kept time for Sarah once in a while…
TP: All singers with different styles, different approaches of playing off the drums.
CH: Exactly. Here again, remembering something about Lena Horne: I was right on the floor behind Lena, and the band was behind me. It was very unusual, because here’s the singer, the drummer right behind her, and then the band, the orchestra would be right behind me. It worked. It worked beautifully. I really developed a way of playing for her to the extent it wasn’t offensive; I didn’t get in her way.
TP: Was Billie Holiday a strict rehearser, or was it just get in and hit?
CH: No, Lady was cool, man. She was cool. Every singer I have ever kept time for was very sincere about what they did. And I’m saying that in a complementary way. Whether you understand that, or reading in between the lines or whatever… It wasn’t easy playing for singers, man. It’s not easy. I have a tremendous amount of respect for any drummer that can keep time for a singer.
TP: Why is that?
CH: Well, you never know what a singer is going to do. Because some singers react differently. They react to what people… They react to the audience. If they feel as though they’re not getting to the audience, then they’re going to push, or they think…or either they’re going to fluff off something or whatever. And the first one they’re going to take it out on is going to be the drummer. “What’s the matter? Can’t you keep time?” That sort of thing.
TP: So we’re talking about temperament now.
CH: Exactly. That’s the reason drummers are cool, man. You know, a drummer sits up… When you start to realize that a drummer has to keep time for people, musicians, people he don’t even like, you hear somebody playing, somebody getting their oobies, they’re not making any music, but they’re just sounding like the teacher’s out of the room, that kind of thing — and you have keep time for that and you have to make it sound like something. You know? Because there’s only one drummer.
TP: Well, sometimes there’s two.
CH: No, you’ve only got one drummer, man. One drummer’s keeping time, man. Also, I’d just like to acknowledge the fact that people in general see conga players, timbales players, bongo players, people playing drums with their hands, and they say, “Hey, this is dynamite; that’s fantastic.” But there’s nothing, nothing in the world like a drummer sitting down playing on a set of drums, where his left foot is doing something different from his right foot, his left hand is doing something from his right hand, and the hands are doing something different from the foot, the foot is doing something different from the hands, and he’s playing on at least a half-a-dozen drums at the same time. This is amazing, man. This is really something.
TP: You were part of the Gerry Mulligan pianoless groups on the West Coast in the early 1950’s, and that was a different side of your work as well. Talk about your hookup with him and your contributions to the music as it was developed.
CH: Well…heh-heh…
TP: Uh-oh, I stuck my foot in it.
CH: No. Well, I believe that it just happened to be four people in the right place at the right time. That story is… I can go on and say, “Well, I did this or Gerry did that, or Chet did this, Chet did that,” that kind of thing. No, it just happened that we happened to be in the right place at the right time, and we got together… As a matter of fact, we got together at my house for the first rehearsal that we did. Gerry was out in L.A., and I was out in L.A. at that time. I was still under the employment of Lena Horne, but I stayed home; I didn’t want to go to Europe that year. In the meantime, I was playing with Charlie Barnet’s band, and Gerry used to come out and hang out with me every night at the bar. [LAUGHS] As a matter of fact, he said to me one night, “You know, if I was Charlie Barnet and you played for me like you play for Charlie, I’d fire you!” Because I used to do some pretty funny things with that band. Anyway, Charlie didn’t mind. He was a prince, man. He was a dynamite dude.
But Gerry and I got together, and we were talking about this and that, and next thing I know, hey, he contacts Chet and Bob Whitlock, and we get together, and we just… Like I said, man, it started happening. And it happened, from the first time we sat down to play. I would say everyone contributed, one way or the other; everyone contributed to making the quartet the way it was. That’s how it came off. That’s the reason it came off. It wasn’t just a question of Gerry Mulligan being Gerry… Well, it was a question of Gerry being Gerry, Chet being Chet, me being me, and Bob Whitlock being Bob Whitlock.
That’s putting it simple, man. Mild.
TP: Would you like to get complex? At any rate, the first track we heard featured the genesis of the Chico Hamilton group, the Buddy Collette-Chico Hamilton Sextet, from Tanganyika. You go back as far with Buddy Collette as you do with Mingus, with Dexter Gordon, and so forth.
CH: Right. We go back when we were young dudes, kids more or less, young guys on the scene. As a matter of fact, the first time I heard Buddy, Buddy had his own band, and he had Mingus playing. Mingus really started off playing cello with Buddy’s band, and Buddy made him get the bass, because he realized that the cello was a little weak, that kind of thing, trying to play cello like a full-sized bass. I went out to hear him one night, I went all the way out there to Watts, right — I’d heard about him. I asked him could I sit in, and I did. One thing led to another, and the next thing I know we were all playing in all the bands around L.A. It was interesting.
TP: How did that band develop a repertoire? Because eventually, both of you were working toward a really broad tonal palette particularly.
CH: Yes.
TP: I mean, along with swing, but it went… Talk a bit about that.
CH: What we did, virtually, in a sense, we copied every record that we heard by Count Basie and some of the Duke Ellington things and Jimmie Lunceford, but between them, Jimmie Lunceford and Count Basie are the bands that we imitated, even down to the solos, note-for-note. We even played the same solos, that type of thing. All the licks. I tried to play all the drum licks that Jo Jones would play, that type of thing. And eventually, it was very successful, because also, you must remember, we didn’t have… It wasn’t a matter of deciding whether you were going to play Rock-and-Roll, or whether you’re going to play the Blues, Rhythm-and-Blues, or whether you’re going to play Pop, or whether you’re going to play Country, or anything like that. There was only one kind of music, man, and that was Swing. So in a sense, it was relatively easy. Because hey, there was only one way to play.
TP: We forgot to play some of the sides you backed T-Bone Walker on for Imperial.
CH: Hey! He was amazing.
TP: So we’re going from T-Bone Walker to Tony Bennett to Charlie Barnet’s band to the Gerry Mulligan band…
CH: Right.
TP: You really were covering the whole spectrum of Swing music in the Forties and Fifties.
CH: Well, I’m fortunate. I’ve been fortunate, man. As a matter of fact, I’ve been blessed to be able to do that. Because it was broad. It was very broad. That’s what the spectrum was in regards to what Jazz was all about. Still, even now, what Jazz is all about.
TP: And we’ll be hearing an aspect which Chico Hamilton is defining in his group, in many ways, the cutting edge, one branch that Jazz is in the process of becoming.
CH: Well, I could go through a whole great big series of stories about, “Well, I decided to do this, I decided to do that.” But I don’t know, man… Here, again, about the original quintet with Fred Katz on cello, Buddy Collette on reeds, Jim Hall on guitar and Carson Smith on bass, here again… It’s not a copout, but I feel that it just happened to be five guys in the right place at the right time for that to happen.
TP: Things were in the air…
CH: Things were in the air, and it happened. Because no one knows why it happened. But it happened, and it worked.
[ETCETERA]
This is the first record that Eric Dolphy ever made. This is a Billy Strayhorn composition which is one of my favorites. Most people… A majority, I would say, of Eric Dolphy’s fans and audience don’t realize, or didn’t realize what a tremendous flute player Eric Dolphy was. And this is my presentation of Eric Dolphy, “Something To Live For”
TP: From Strings Attached on Warner Brothers.
[MUSIC: C. Hamilton/E. Dolphy, “Something To Live For”; C. Hamilton, “Mandrake”; C. Hamilton, “Taunts of An Indian”; C. Hamilton, “Guitar Willie”]
TP: A selection of four compositions and performances by various groups under the leadership of Chico Hamilton. That last was “Guitar Willie,” featuring the late Eric Gale from Headhunters, on Solid State, and my guess is that it was recorded around 1970. Do you recollect, Chico? Of course, being a Solid State release from that time, there’s no date, but they have a zip-code.
CH: Probably around ’68. Eric used to do a lot of commercials with me when I was knee-deep on Madison Avenue, you know, doing commercials. That’s music for commercials. Here again that was sort of unusual, because just to have the bass walking and myself keeping that time, and the horns… Steve Potts was on there, and I think…
TP: Russ Andrews on tenor.
CH: Yes, Russ.
TP: Ray Nance appears elsewhere on this release.
CH: That’s right.
TP: And Jan Arnett on bass.
CH: Jan Arnett. It was a happening.
TP: Before that a few selections by the current group, Chico Hamilton and Euphoria. Before that, a very beautiful and affecting piece, “Taunts of An Indian Maiden,” a dedication to your mother.
CH: I dedicated to it to my mother. She was an Indian maiden, you know?
TP: That’s from Arroyo, a 1990 release, with Eric Person, saxophone, Cary DeNegris on electric guitar, and Reggie Washington, one of the better electric bass players around, playing acoustic bass.
CH: Well, he’s playing electric on that. He just sounds… That’s how well he plays it. He’s one of the few fender players that can get the sound of an upright bass.
TP: Before that we heard “Mandrake,” the group’s arrangement of Eric Dolphy’s composition, one of seven compositions arranged by Chico Hamilton and Euphoria on My Panamanian Friend, the most recent release by the group.
CH: It’s an interesting thing. Jeff Caddick was the one who suggested that we do an album of Eric Dolphy’s music. And the more we got into it, the more we started talking about it, the more I realized and he realized, as much as people talk about Eric Dolphy, nobody plays his music.
TP: Well, Oliver Lake is one, and a few other people play his music, but not so much.
CH: Not that many. Hopefully this will shake them up again.
TP: The way that you arrange and set up your songs… I think if one held to a stereotyped view of a Jazz musician, and heard you from all these sessions in the Forties and Fifties, to hear the sound of your bands would seem disjunctive. But it’s obviously not. You’ve always had a predilection, for one thing, for saxophone players who like to get into the extremities of the instrument, from Eric Dolphy to Charles Lloyd to Arthur Blythe to Steve Potts to your current saxophonist, Eric Person.
CH: Well, look, to simplify it, that’s what I’m all about. I’m into sounds, and anybody that sounds different or original (which is pretty difficult) I’m for. I’m open, as far as all music… First of all, I understand fully that it takes all kinds of music to make music. I also understand that I’ve been blessed to the extent that I’m able to make music at this stage of the game of my life or my career, as opposed to just playing it. So that’s what it’s all about. Music I believe is one of God’s will, and God’s will will be done. Right? That’s the name of the game.
TP: If it’s meant to be… Well, you’re making it happen.
CH: Hey, that’s what it’s all about.
TP: A few words about the people in your group. A few words about how musicians find you and you find musicians. Eric Person, first of all.
CH: As a matter of fact, Eric was introduced to me by Arnie Lawrence. Arnie had heard Eric when he was in St. Louis. I think he was at Eric’s school. When Eric came to New York, I think he contacted Arnie, and Arnie in turn contacted me, and that was it. Right away we hit it off. I helped him to grow, and he’s grown, needless to say, and developed into one fantastic kind of a player.
TP: You may not be able to hold on to him.
CH: Well, it’s not a question of holding on. He’s supposed to go on to bigger and better things. That’s what I’m all about, again. Hey, you come this way, you pass through me.
TP: He’s currently with Dave Holland’s group and the World Saxophone Quartet as well as Chico Hamilton’s Ensemble.
CH: Well, this is good, because this gives him an opportunity to play all kinds of ways. I haven’t heard him with the other groups, but I imagine he plays different with them than he does with me. Because we play a different kind of music; a different kind of rhythm, let’s put it like that.
TP: Cary De Negris, the guitarist.
CH: Cary met me. Cary called me when he came from Albany, New York, I think. His potential I heard right away, the first time I heard him play. He has developed, needless to say, into really some other kind of guitar player. He is perhaps one of the most fluent players that’s on the scene today, period, regardless of what style or what kind of guitar playing there is to be played. He’s doing it.
TP: Finally, Matthew Garrison, the group’s newest member.
CH: Well, Matthew’s father used to play with me, Jimmy Garrison. At one time he did dates and things with me. He was brought to my attention by Cary De Negris, who heard him and said, “Hey, Cheeks, you’ve got to hear this bass player.” As a matter of fact, man, he’s so prolific, he sounds like a guitar player. He’s got chops.
TP: Well, his father had that type of fluency in his sound also.
CH: Exactly. So I’m more than pleased, man. I’m having a ball. Because hey, we’re making music.
[MUSIC: “Song For Helen” (1992)]
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Chico Hamilton Profile (WKCR) – (1-14-96):
[RECITAL ON “In the Beginning”, Dance To A Different Drummer: “You know how this all started with me playing, the drums. I guess I was around 8 years old when my mother took me to see Duke Ellington and his Famous Orchestra at the Paramount Theater in Los Angeles, and for the first time in my life, not only did I see an orchestra, but I saw on this pyramid, the top of the pyramid, on top of the whole band was the one and only Sonny Greer. I had never seen anything like this in all my life. Matter of fact, he had so many drums, he had more drums than a drum store. But he was really something special. And that impressed me, the way he played, the way he had control of the band, and the sound he got. He was also perhaps one of the first percussionists in every sense of the word; not just a drummer, but a percussionist, a man who made sounds. Everything he touched made a sound, and it blended and it worked with what Duke Ellington had written and played. Like all kids, it was an impression that stayed with me, and I decided that’s what I wanted to be — another Sonny Greer.”
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TP: Chico, do you remember what year you first heard Sonny Greer?
CH: I don’t remember what year it was I heard the band, and I wouldn’t even tell you if I did remember! I was around 8 or 9 years old when I first heard the band.
TP: So it was probably when Ellington first came out to the West Coast, around ’30-’31.
CH: It probably was. You know, one thing about being on the West Coast, all the bands came there, not only Ellington, but Basie, Earl Hines, Benny Goodman, Dorsey — all the bands eventually came to the West Coast. A miraculous thing is the fact that the Board of Education system out there, it was compulsory to take music in all the schools in the system, whether you took a music appreciation course or rented an instrument to play or something like that. Whenever the well-known bands would come to the West Coast, they used to let us out of school to go down to the train station to greet the bands as they came in. Fundamentally, all the guys from the Royal brothers, Ernie and Marshall Royal, Dexter Gordon, Buddy Collette, myself, Jack Kelso, Charlie Mingus, all of us…
TP: Grew up in the same area.
CH: We grew up in the same area, with the same musical aspect in regards to… Like all kids, we had a band…
TP: Where exactly in Los Angeles did you grow up? Was it around Central Avenue, later the real music strip?
CH: Yeah. Los Angeles at that time was the East Side and the West Side, and I think Main Street divided L.A. into what was East and what was West. I was born on the East Side of town and then grew up on the West Side of town. Central Avenue was the street, our avenue; that was our 52nd Street. It only consisted of two or three blocks, but within those two or three blocks, man, you had everything…
TP: You’re talking about the 1930’s, now.
CH: The late 1930’s and the ’40s. They presented a big documentary about the jazz on Central Avenue not too long ago. It’s part of the curriculum at UCLA or one of the schools. Central Avenue… You had the Dunbar Hotel, and then inside the Dunbar Hotel was the Club Alabam, which was the equivalent to the East Coast Cotton Club — the same type of shows.
TP: It would have been the equivalent to the Theresa Hotel in Harlem, or the Braddock or the Woodside.
CH: Exactly. From there, that was the number-one club or joint… That was super big-time, where all the big bands played. Then right outside of Hollywood, in Culver City, there was a club, which I forget the name of. They had at least half-a-dozen big, big rooms, big joints where all the bands played, which made it very lucrative for bands to come to the West Coast, from the Palladium to the Ambassador Hotel. But Central Avenue was the avenue, man. When I was a kid, I used to burn matches and make a moustache so that I could look old enough to go in these joints. This is when Duke Ellington’s band with all these guys, Ben Webster, the people who invented this kind of music, who really did it, were on the scene…
TP: When the bands would come out, the musicians would also circulate after-hours or in other situations, and you would have contact…
CH: This is what I’m getting ready to say. After the gigs, we all hung out at a place called Lovejoy’s which was a joint on Vernon and Central, right on the corner, upstairs. Man, many a night I used to stay in there until 7 and 8 o’clock playing, jamming, and man, I’d have to rush home and go to school… I was in high school, and I’d do everything I could to get the cigarette smoke off of me. But man, we had a ball; we would have a ball. This is how I learned to play. One thing about it, the pros helped us; they helped all the young players. They would listen to you and you’d get a chance to play with them, and they would advise you, give you some tips on what to do and what not to do. Unfortunately, I don’t know whether that still happens today. It was really, really different.
When I got drafted and went to the War and came back, it was a different Central Avenue altogether — completely different. Before I went, all the movie stars and everybody used to hang out on Central. That was it. It was just like hanging out on Broadway here in New York at one time. But when I came back from the War, music had changed completely. As opposed to the Swing thing, we were into the Bebop. Miles, Diz, Bird, Erroll Garner — everybody was in Hollywood at that time.
TP: You got back when?
CH: Late ’45.
TP: Right around when Dizzy Gillespie and Charlie Parker got into Billy Berg’s.
CH: Exactly.
TP: Did you come from a musical family?
CH: No.
TP: Where did the inspiration to play music initially come from.
CH: That’s a very good question, man. I don’t know. I’ve always…music has just… First of all, I’ve never done anything else but play music, or make music, or been into music. My closest friend at the time, who is still my best friend, Jack Kelso, had a clarinet, and I figured since he had a clarinet that I’m gonna get me one; I want to play because my best friend is playing. We were both about 7 or 8 years old, something like that at that time, and that’s how it worked out. To play drums just was a sheer accident, because my older brother was fooling around with the drums in the school orchestra when we were both in grade school, and when he graduated, they didn’t have a drummer, so I just said, “Hey, since he’s my brother, I might as well play.” And I went in, sat down and started playing. I had no idea what I was doing. And the next thing I know, I had the gig, because nobody else wanted to play. Other than that…
TP: Did anybody give you lessons outside of school?
CH: Yes. A friend of mine… I don’t know if you’ve ever heard of Oscar Bradley. Oscar Bradley was on the West Coast; he was the drummer with Les Hite’s orchestra. I used to hear them play. They used to rehearse ar a playground near where I lived. Before I went into the Service, I took some lessons from Lee Young, Prez’ brother. That was about the size of it.
When I went into the Service, there was a drummer by the name of Billy Exiner, who played with Claude Thornhill. Billy taught me how to read music. He’d climb over a mountain, man! It was two camps then, and one was Black and one was White.
TP: This was at Fort McCullough.
CH: Fort McCullough, Alabama, man.
TP: It’s known infamously in jazz history because of the treatment accorded Lester Young and Papa Jo Jones.
CH: I was there, man, when that happened. But Billy Exiner taught me how to read drum music. Actually, I was more or less self-taught. Then when I came out of the Service I enrolled in the Los Angeles Conservatory of Music on the G.I. Bill. That’s when I really got serious about… Well, I was serious about playing, period. I was blessed because I always was able to hear things. I used to depend upon my ear as far as music was concerned, for arrangements, cues and things like that. The fact is that as a teenager, man, I was playing shows, burlesque shows, where you’ve really got to catch all the cues, all the kicks and things like that.
TP: Tell me more about the gigs you had when you were a teenager. When did you first play for a sum of money, and how much was it?
CH: A sum of money? It was 75 cents; like, a half-dollar and a quarter. My friend Jack Kelso and I used to play in a neighborhood band led by a man named Myers, who we called Old Man Myers. He had a family band. One of his sons played piano, another one played trumpet, another one played trombone. It was very common during that time for families to have family orchestras. Most families who were musical had a band…
TP: Such as Lester Young’s family, Louis Jordan’s family, Oscar Pettiford’s family…
CH: Exactly. So it was a very common thing. Jack was playing alto saxophone by that time, and I played drums, and we joined the band. We would rehearse and rehearse, and we’d play. As far as the gigs were concerned, we would drive for half-a-day, it seemed like, outside of L.A. to play a lot of different roadhouses. We had a kitty, and people would give us money to play certain tunes. Funny thing, the name wouldn’t be up there. They wouldn’t say “Myers’ Orchestra”. They would say “All-Colored Orchestra.”
TP: Did that mean that they could expect to hear a certain type of music? Were you expected to play in a certain way.
CH: That was the feature. They knew that at least we wouldn’t be Country music or some down-home stuff or whatever.
TP: What type of things did you play in that orchestra?
CH: We played just the regular standard music, the old standard tunes like “Stardust.” No original material. We just played time whatever was popular on the radio at that time. It was relatively simple. As far as I was concerned, I just had to keep time. He wouldn’t let me use sticks; I always had to use brushes. I’ll tell you, man, I ended up… Every important job that I got seemingly was due to the fact that I could brush, keep time, and be smooth and cool with it. Because I spent about 15 years or more just being an accompanist, playing for singers. But during that time I wanted to play with sticks and he wouldn’t let me. Every time I’d pick up the sticks he said, “Put them sticks down!”
Jack and I used to come home… Sometimes we’d make a buck-and-a-half. Riding for about four or five hours, then playing until 2 or 3 in the morning kind of thing. This was on the weekends, Fridays and Saturday nights.
TP: And you were 14-15-16 when this was happening.
CH: Yes.
TP: At the same time, you were at Jefferson High School, which had one of the most distinguished music programs among Black high schools in the country, and one of the great music teachers, Samuel Browne…
CH: Well, first of all, Jefferson High School wasn’t a Black high school. It was a school in the area, on the East Side. As a matter of fact, man, it was one of the most beautiful schools in the whole state of California. It was the duplicate of Monticello, Jefferson…
TP: Built along the lines of Greek Classical Architecture.
CH: Yes. And there was no such thing as all-Black. There were just as many White students as Black students.
TP: So the community wasn’t as segregated as it later became.
CH: The community wasn’t segregated at all. Because it was a deep mixture. I was born that way. I grew up that way. So it didn’t become…well, if you want to refer to what is a ghetto, what is not a ghetto… It didn’t become a reservation, man, until after the War, when the War started. Because as people progressed financially, they moved to different areas. In fact, the only ghetto area in L.A. at that time was one called Ball Heights, which consisted of a lot of Yiddish, you know…
TP: The Jewish neighborhood in Los Angeles was the only real enclave based on ethnicity or race.
CH: Exactly. And when those people became successful, they moved to Beverly Hills. They started up Beverly Hills.
TP: I’d still like you to talk about Samuel Browne.
CH: Well, Sam Browne was a very good instructor, a very good teacher. But I don’t think he dug me and I didn’t dig him. I didn’t really take music in school. As a matter of fact, he used to give me hell because I was gigging at night, getting to school sometimes on time, sometimes not on time. I wasn’t in the school orchestra at that time, with Dexter and Jack and James Nelson and all those guys. As a matter of fact, I was working with Lorenzo Flournoy working for Billy Berg, at his first place, called the Club Capri.
TP: This was around ’38 or so?
CH: ’38, ’39, something like that. This is before Prez left Basie. I was big-time, man. I think we were making about $37 a week, which was a lot of dough. I had my own car. I was slick. I was cool. But I was already playing… The only reason why I joined the school band was to get a sweater, which they gave you, and I could go to the games free.
TP: That band played a rather challenging repertoire. According to Art Farmer, who was there in 1945, they played Dizzy Gillespie charts at that early time!
CH: Well, yeah. See, that was after my time.
TP: What was he doing in the late 1930’s?
CH: They were playing Swing music. Some Ellington things, Earl Hines kind of things, Horace and Fletcher Henderson, those kind of charts. But here again, I never did anything with them. But the band that came out of Jefferson was a band called Al Adams during that period. We formed that band, which was myself, Dexter, James Nelson, Jack Kelso, Buddy Collette, Mingus, Lady Wilcor(?), my brother-in-law James Henry, who was a trombone player, Ernie Royal was in it. We were all about 15-16-17 years old. As a matter of fact, when Illinois Jacquet first came to L.A. he joined us, and he was about 16 at that time. Man, this band, we raised so much hell… If a union band had a gig and it was paying $5 we’d take the gig for $4 We raised so much hell with the union, they made a deal with us, and we got into the union practically for nothin’! They were so happy…
TP: Get rid of the competition.
CH: From then, we were all in union. I think we paid something like $7 to join; it was ridiculous. But then we started rehearsing at the union. One fantastic thing that happened was that all the bands when they’d come in, like Jimmie Lunceford, would rehearse at the union, so we had a chance to hear them…
TP: So you had a chance to get up close to Jimmy Crawford or Jo Jones…
CH: Oh, man, I’m trying to tell you… And next thing we know, we were doing everything that they were doing, note-for-note, beat-for-beat. We would imitate them. We started playing all the school dances, and we would sound like Jimmie Lunceford, we’d sound like Basie… It was dynamite. Because from that band, the experience I got playing with big bands, and all of us went on to different things and different areas…
I think I was around 16 years old when I got the call to Lionel Hampton’s first band, that “Flying Home” band. Man, I lasted about two or three weeks, because I wasn’t ready. I did get that experience, but I wasn’t quite ready.
TP: What were you lacking, would you say?
CH: Well, my reading was bad. I depended upon my ear at that time, and my sight reading wasn’t… I could play, man. I could swing. I could keep good time. But reading the charts, following the charts down. I couldn’t do it too well. I wasn’t quick enough. They’d waste a lot of time going over different sections just so I could get it. That’s the band where “Flying Home” became a famous thing.
But when I got fired out of that band, that turned my whole life around, my whole career. I really got serious. I’ll never forget the day that they gave me my notice… A friend of mine…well, he wasn’t a friend, but a big-time dude that knew me who was a player, said, “Listen, kid. You’re hurt now, but don’t let it get to you.” It turned my whole life around, man. I really got serious about what I was doing. From there I got drafted, and this is when I started doing my number as far as learning.
TP: In our previous show, you mentioned that in the big bands of the 1930’s, something we can’t hear properly on records is how the drummers shaped the sound of the band, like Jimmy Crawford or Papa Jo Jones or Sonny Greer.
CH: Exactly.
TP: Now, when you were in the Al Adams band, emulating the sounds of those bands, were you emulating the styles of those different drummers.
CH: Yes.
TP: So you had reached that level of proficiency.
CH: Yeah. I could play, man, and I could always keep good time. I had some funny kind of ideas as far as my solo ideas were concerned. I wasn’t a straight up-and-down kind of a player. I have never been interested in being fast, have chops like the Buddy Rich kind of thing. There’s nothing wrong with that particular style of drummer, but I’ve never been interested in it. I’m into sound. I’m into making sounds or creating sounds or inventing sounds, then taking the sounds and creating a mood. The supply and then the demand, that type of thing. But at the time, I could play just like Jimmy Crawford if we were playing a Lunceford type of tune. If we were playing a Basie type of tune, I was Jo Jones. It was groovy. It was cool.
It didn’t get confusing, man, until I came out of the Army. The first dude I heard… Man, I was in Oakland, California, playing a show, in which one of the acts was the Will Mastin Trio featuring Sammy Davis, Jr. We were doing 7 and 8 shows a day, that type of thing. Then we heard Billy Eckstine was going to play a dance that night, a Friday night in Oakland. Needless to say we couldn’t wait to get off after of the last show…
TP: This was with a band called Floyd Ray. A young Art Farmer was in it, Hampton Hawes…
CH: Yeah, Art, Hamp. I’ll tell you something funny as hell that happened when we were up there. I was taking a solo, my big moment, and Mingus came out with a hammer and started hammering on the bandstand while I was playing! [LAUGHS] I got so teed off at him, man…
Anyway, to make a long story short: We heard Eckstine’s band that night. That’s when he had Gene Ammons and Dexter Gordon, “Blowing The Blues Away”, and Art Blakey was on drums. Man, I had never heard anybody play like this before in my whole entire life! I was just flabbergasted! Art Blakey turned me completely around. I had never heard anybody play the Bebop style of drumming.
TP: How would you describe that in relation to what Jo Jones and Sonny Greer were doing in terms of your perceptions at the time?
CH: For instance, Swing, you keep a steady beat going on the sock cymbal, which is the side cymbal, or even the top cymbal — DING, DI-DI-DING, DI-DI-DING. You keep that going. DING, DI-DI-DING, DI-DI-DING, and every once in a while you might do something with your left hand. But in playing Bop the way Art Blakey played, he kept something going, DING, DI-DI-DING, but meantime, man, he’d dance between his left hand and his right foot. DE-DUM, DE-DUM, DE-DUM, BOP!! CHITTI-TI-TI-BUM, CHITTI-TI-TI-BUM. Just dancing all the way through, keeping time, and the band was hitting… It worked! I’d never had no idea of this style of playing. I was just flabbergasted.
So the next morning, back at the theater, first show, I’m playing for Sammy Davis and his uncle and his father, and we’re playing, keeping time, then all of a sudden, I decided I was going to drop one of these bombs — BOP, BOOM!! I did that, man, and Sammy’s father, his uncle, they stopped, turned around, and said, “What are you doing?!”
TP: You didn’t do that any more, huh?
CH: Oh, Ted, it was unbelievable. After the show, he came up to me and said, “Listen, son, you’re our favorite drummer. Don’t do that!” [LAUGHS] I’m just reminiscing. It was funny as hell. But I’m saying this is the first time I’d been turned around.
TP: When you heard Art Blakey, had you been to hear Charlie Parker and Dizzy Gillespie at Billy Berg’s club?
CH: I had just come out of the Army.
TP: And you went right out on that job?
CH: I went right out.
TP: Did you get to see that band during that particular engagement in December ’45 and January ’46.
CH: No, I didn’t. But I played with Bird. After that, during ’45 and ’46, everybody was out on the West Coast. And I used to jam with Bird all the time. There was a place on Central Avenue, the Downbeat, Billy Berg’s…
TP: There was a place called Jack’s Nest.
CH: Jack’s Nest.
TP: And the Finale Club in Japan-Town where Howard McGhee had a band.
CH: Yeah. Maggie was…all the guys. It was just a happening. Roy Porter and Chuck Thompson were the popular drummers around that time in L.A. when I got out. Roy was a Bebop drummer moreso than Chuck Thompson was. That’s when Wardell Gray and all those guys… It was a happening.
TP: There’s a recording from 1946 of you backing Lester Young. What was it like as you for a drummer to play behind Charlie Parker, purely on the rhythmic level? That must have really developed your conception of the instrument.
CH: Charlie was really nice to me. Well, he was nice to everybody, man. He was a brilliant man, a brilliant human being. Not only did he encourage you to play, but he gave everybody a shot, the rhythm people at least, to keep some time for him, just to play, to make a gig. All I know is hey, man, he was a helluva saxophone player. It was entirely different from me playing with Prez or playing with guys who swung in regards to this new style of playing.
Howard McGhee helped me quite a bit with getting into Bebop playing and understanding what the concept was all about, and the phrasing. That was most important thing, how you phrased, in playing this particular style of music, leaving space in the rhythm so you can fill up the holes. As a matter of fact, I don’t know anybody right now who can explain that. I can’t. [LAUGHS] It’s a style of playing that the concept came about by Diz, Bird, Monk, people like that. Strangely and oddly enough, when they left the West Coast, that particular style went East. It didn’t linger on the West Coast. Shorty Rogers and all those guys, people like that, they come out of the Kenton area, and Stan Kenton’s band was a Swing band… I don’t know, it just left. Years later when I came back and started my own thing, the quintet with the cello, flute and guitar, we were the furthest thing in the world from playing Bebop, that particular style.
[MUSIC: Prez-CH, “New Lester Leaps In” (1946); C. Hamilton Trio (Duvivier-Roberts) “Street of Drums”, “Nuttye” (1955); CH-5, “The Morning After” (1956); w/ Billie Holiday, “Too Marvelous For Words” (1956); CH-5, “Gone Lover” (1956)]
CH: This was the first time in the history of recordings that a drum and a guitar and a bass had been recorded as solo instruments alone, as the featured instruments, as opposed to being in a rhythm section. Up until that time, the rhythm section, which consisted of piano, guitar, bass, drums, was always just a section — it was never featured. The fact that we did this… Dick Bock promised to record me because of the Gerry Mulligan Quartet things. Part of the deal was that each one of us would have an album. Doing this, it was really something, because nowhere before in this particular form of music, known aa Jazz, had you heard anything like this. Guitar, bass and drums was very common in Country music and things like that, but not presented as Jazz, solo instruments.
TP: What were some of the inspirations for the idea? You mentioned playing in a lot of different situations as a professional drummer, including Chet Atkins, and you undoubtedly heard the Nat Cole Trio and others that used guitar and bass.
CH: I played with Nat Cole also. As a matter of fact, Nat played for my wedding. I can’t BS your listeners and say I had an inspiration. It just happened. The fact is, I had an opportunity to make an album, and I just thought of something to be different. Because the previous albums I’d done with the original Gerry Mulligan Quartet became unbelievably big as far as record buyers and record listeners were concerned, a different concept having a trumpet, baritone saxophone, bass and drums. So I just more or less fell into the same pattern just by having… I was very fortunate, because George Duvivier and myself at that time were working with Lena Horne, and I knew Howard Roberts and liked the way he played, so when the opportunity arose we just did it, and it came off. It came off beautifully, I thought. When you stop to consider the fact that this is 1996, it still holds up today as contemporary as far as the sound and feeling are concerned.
TP: We’ll step back and ask Chico for word portraits of some of the musicians he was associated with and friends with at different points of his career. I’d like to ask you about Lester Young’s manner as a bandleader, and the kind of relations you had with him.
CH: Let me tell you something about Prez. Prez was one of the most sensitive human beings I have ever met or heard of. He was a very sensitive man. And he was total, total music, man. Prez, Eric Dolphy, people like that… He was totally music. Prez had a tremendous sense of humor for one thing. Half the time I don’t know whether he was putting me on or putting everybody on or what. But he was cool. He was very cool. Also he was very proper.
TP: Well-mannered, you mean?
CH: Well-mannered in regards to being respectful. Prez was cool, man.
TP: Did he have a nickname for you?
CH: [LAUGHS] Yeah, he had one for me… Yeah, he was cool. In fact, Prez introduced me to Roy Haynes, and Roy and I became friends after that. But Prez would call everybody “Miss.” Miss Hamilton, Miss so-and-so; everybody was “Miss” as far as Prez was concerned. As a matter of fact, the original word “smothertucker” came from Prez, heh-heh.
TP: He had a house as well in Los Angeles where a number of people would stay?
CH: Yes.
TP: Any memories of that house? I gather it was a congregating spot.
CH: No, no… I recall when I first met Prez, it was one of those days I played hooky from school, and we were all meeting over at Lorenzo Fluornoy’s house, because he was having a session. We used to put the pots on. In other words, Lorenzo would cook a great big pot of beans or something like that, and all the musicians in L.A. used to come by his pad. This particular day I came by there, and the screen door was open, and I looked in and I saw Prez, and I saw this lady that was sitting on Prez’ saxophone case who was Lady! I told (?), “Hey, man, that’s Lady!” Sure enough, when I got into the house, he said, “Miss Hamilton, Miss Day.” That’s when I first met Lady. She was something else, man; she was really something else, too.
TP: You mentioned Mingus on the tour up and down the West Coast with Floyd Ray, coming out and banging on the bandstand during one of your solos. You went way back with him.
CH: Oh, man, we were almost kids together type of thing.
TP: You grew up near each other.
CH: Well, no. I was in L.A. He was in what they called Central Gardens, which was between L.A. and Watts. But my wife and Charlie and Buddy Collette, all went to Sunday School, all went to the same church.
TP: Do you remember which church?
CH: No. I didn’t make it! [LAUGHS] Oh, man, I guess we go back to 12 or 13 years, back when we were youngsters. People say Charles used to do crazy things, but hey, he was always like that. He was always a mischievous kid, that kind of thing. We got along beautifully. As a matter of fact, I had the pleasure of spending some time with him before he passed away…
TP: You and Mingus and Buddy Collette all knew each other, then, from back when.
CH: Right. Buddy had a great influence upon Charlie. As a matter of fact, Buddy was Charlie’s mentor. Even up until the time he had got out of Dodge, man, he would always call Buddy. Every time he had a problem or would run into something, Buddy was his mentor… As a matter of fact, Charlie was playing cello before he played bass, and Buddy talked him into playing bass as opposed to playing a cello. These guys out in South Los Angeles, they had a band, and we used to jam, and all of a sudden when the main hit came… We all auditioned for one job at the Orpheum Theater, I think it was, to play this show. Buddy had his band there, and we had our band (the Al Adams Band), and we got the job. But we needed Buddy and we needed people like that. [LAUGHS] So that’s how we all became one band. Man, they had a helluva show. The comedian was Mantan Marlan, and I forget who the big star singer…Ninah Mae McKinney… These were superstars at the time, and we were the pit band. That’s how we ended up being one very good band.
TP: In thinking of the types of influences that made the music of the Chico Hamilton Trios and Quintets have a distinctive sound, a lot of the music sounds narrative, like there’s a very specific image in mind, and it would seem influenced in many ways by your exposure to show music and those type of arrangements, film music and things like this.
CH: I’ll tell you. The years that I spent as Lena Horne’s accompanist, I was influenced very heavily by Lennie Hayten, her husband. Between Lennie Hayten and Luther Henderson, my concept as far presentation began to happen, to make things dramatic, make things un-dramatic, whatever…to start creating moods. I guess the real me started to happen. I’ve always been a different kind of player. It was totally impossible for me to try to play like Max Roach, you know, or Art Blakey or Gene Krupa, Jo Jones…
TP: That was part of the ethos of the time anyway, was for players to develop an individual sound.
CH: You took a little bit from him, you took a little bit from him, and a little bit from him, and put it all together, and all of a sudden it became you. That’s what it amounts to.
TP: By the way, on the liner notes to one of these old LPs, which are an invaluable source of information, you mentioned briefly playing with Jimmy Blanton while the Ellington band was in Los Angeles in 1941, I guess.
CH: I sure did. As a matter of fact, I had gone to the movies with my wife, who was my girlfriend at the time, and we had just come home from the movie, and it was about 5 in the afternoon, and when I walked up to the porch door, her mother came out and said, “Forrest, Mr. Ellington… They’ve been calling you all day!” And I said, “Who…?” — that kind of thing. Sitting in the car was Herb Jeffries, and he said, “Man, we’ve been waiting on you. Duke wants you to play.” Sonny became ill, and they were playing the Casa Mañana out in Culver City. Here again, man, I was about 19 years old, something like that. And man, I went out there… We came in through the backstage (because you came in through the back), and the band is playing, and the band was swinging, so man, I just knew they had a drummer up there. My heart stopped. I was sort of disappointed, because I really was looking forward to it. It turned out the band was just hitting, playing its keister off! I went up there and climbed up, way up on the pyramid type of thing…
TP: Well, with Jimmy Blanton, sometimes you might not need a drummer…
CH: Well, at that time, the band set-up was… Sonny Greer was on the top of the band. The band like a pyramid; it came down in pyramids. And way down by Duke, by the keyboard, was Jimmy Blanton. So they were playing, oh, something like “Don’t Get Around Much” or one of those tunes, and man, I just sat down and started playing and started sweeping, and next thing I know, Jimmy Blanton turned around and looked up [LAUGHS], and he says, “Wow!” Anyway, I stayed on there for a couple of weeks.
TP: Did you get drafted shortly after that?
CH: A little later, after I got married. I was about 21 years old. But one thing about young players at that time, we had all the records. Every time a record would come out, man, I had the record, and we would listen to the band. I knew everything everybody did in the band with the solos. I could hum or whistle the solos just note-for-note almost. So this made it really easy in a sense, because I depended upon my ear to play with those bands, to keep the time, because I knew the arrangements. It wasn’t a question of me reading music, because number-one, man, neither Duke nor Basie, when I joined the bands…there wasn’t one stitch of drum music. You either knew the charts, or that was it. So this is how I got around that.
TP: I think one thing about a lot of the drummers of that period, Art Blakey being a great example, is that he could take a piece of music, and then just know it and transform into his thing.
CH: Well, you develop that. That’s something you develop. For instance, the average arranger, he’d write something for the brass section, the reed section or whatever, and write something for the keyboard and bass, would then say to the drummer, “Hey, you know what to do; you’ve got it.” Because it was totally impossible for an arranger to write a drum chart, to make it swing. If it’s a march type of thing, that’s something else. That’s something different. But to write a Jazz chart and make it swing, you don’t need a drum part. You give the drummer the first trumpet part. Because that’s where he’ll make the hits. He’ll play the same kind of figures that the trumpet players would play, more or less.
TP: Dexter Gordon is another of your contemporaries from teenage years. And you mentioned on first hearing the Billy Eckstine Orchestra, it was Jug and Dexter.
CH: That’s right.
TP: I think in a previous interview you described Dexter as being a kind of pied piper as a youngster, who had his horn out all the time.
CH: We used to call him Big Stoop. [LAUGHS] Dexter. Dexter started off playing clarinet, and he constantly had his clarinet in his mouth, all over. That was it. He was just clarinet, clarinet, this type of thing. Man, no one really made the progress that Dexter did. By the time he left L.A., man, automatically he became a giant. He became something else, and he gained the respect of all the pros, all the heavyweight players — Coleman Hawkins, Ben Webster, Prez, people like that. Prez was the master. They all tried to simulate… As a matter of fact, we even tried to walk like Prez, talk like Prez, even the porkpie hat…
TP: Hold the horn sideways.
CH: What a lot of people don’t know is Prez held the horn that way because he had a problem. Most people thought he was doing that for show, but he wasn’t. He did that in order keep the pressure off his gums.
TP: That’s why he didn’t put the mouthpiece all the way in his mouth.
CH: Right. And that’s one of the reasons for the sound he got, which was a beautiful sound. That was the bottom line to it. It wasn’t a question of him doing that just for show. That was the only way he could play his horn.
We came up beautifully, let’s put it like that. As young as we were, we were all total music, too.
TP: It seems like those musical values were instilled in you right from the beginning of playing music. If you were going to go out and play in the community, you had to have certain things right.
CH: Exactly. Even today, man, you never… Music, first of all, deserves to be played well at all times, regardless of whether it’s two people in the place, or if you’re playing in the men’s room or the lady’s room. Music deserves to be played well. I grew up with this understanding. I believe that music is one of God’s will, and God’s will will be done. That’s what keeps it going forever and forever and forever.
TP: Back to Lester Young, let’s go back to Fort McCullough, Alabama, and your recollections of that experience.
CH: Man, that was a bad time period. It’s part of my past that I don’t want to… It was devastating. It was very devastating for the simple reason that I’m in the Service, I’m not in the band, but I’m attached to the band. I’m a drummer, and in my company they made me the company clerk and made me a bugler. The Drum Corps master knew that I was a drummer, but he made me play bugles, just to show you what was going on. And when Prez… Now, they attached me to the band, so I wasn’t in the band, but whenever a show came through there, I had to play the show, because they had three drummers in the band and none of them could play the show. So when Prez and Jo came through there, man, they had guys in this band that couldn’t even hold their instruments. I mean this. And these people wouldn’t let Jo Jones and Lester Young in that band. It was disgraceful. It was unbelievable. I still can’t get over it. But it’s part of my past. It’s just like a lot of other things that happened down there. [LAUGHS] I don’t want to talk about that.
TP: It sounds like the most positive thing that happened there was meeting Billy Exiner and learning how to read music.
CH: That was the most positive thing that happened to me, along with meeting some guys who became my lifelong friends. Jimmy Cheatham, for instance, was one of the guys who was in the band. But other than that… Hey, that was then. This is now.
TP: Right. And in our radio chronology, we’re around 1958 in Chico’s music. The track we’ll hear features a pianist whose name is unknown to me…
CH: Freddie Gambrell.
TP: He, bassist Ben Tucker and Chico form the trio.
CH: Listen, I met this kid in San Francisco. He’s blind, and he could play his keister off, as you will hear. This is very rare for the simple reason I haven’t recorded with piano players that much — period. I played with Art Tatum and Nat Cole, and I did a lot of things with Nat, but it was different, a big thing where he was singing…
TP: Studio productions. But with Art Tatum you played as part of the trio?
CH: Yes.
TP: Talk a little bit about playing behind Art Tatum? Was keeping all you had to do, or did you embellish? What did Art Tatum want from a drummer?
CH: Well, you’d just try to realize where he was going all the time. It was dynamite, it was cool. It was easy playing with Art, in a sense, because all you had to do was swing, keep good time, and that was it. It was just an accompanying kind of thing; that was it.
TP: You just worked with him in Los Angeles?
CH: Just in L.A. I think we played maybe the 333… Just joints all over L.A. Clubs, that is.
[MUSIC: CH w/ F. Gambrell, Ben Tucker, “Lullaby Of The Leaves” (1957); Tony Bennett, “Lazy Afternoon”; CH-5 w/ B. Collette (ts), P. Horn (as), “Take The A-Train” (1958); CH-5, Dolphy-Katz, “Something To Live For” (1958)]
CH: Beat Of My Heart with Tony Bennett was a dynamite record. Tony and I talked about that during when I was playing for Tony, keeping time for him, the combination of keeping time and playing with my own group… Matter of fact, I was in Philly, at the Showboat when they decided to do it, and I had to come up to New York. It came off beautifully. Jo Jones is on there as well. It was really something. Now, Tony has always had a good sense of time. His phrasing is really very unique. Besides, I like him. We’re friends. We’ve been friends a long time.
TP: The first track featured pianist Freddie Gambrell, who seems not to have been heard much from since. That really orchestral piano style. He’d obviously listened some to Ahmad Jamal at that time…
CH: I don’t even know if he’d heard of Ahmad Jamal then, because I don’t think Ahmad Jamal was known on the West Coast during that period. This was just a young kid, man. He was blind, but he could play his keister off. Fantastic pianist. Matter of fact, every time I would be in Frisco, there was an after-hour joint where we used to hang out called Slim’s, and we’d go in there and jam all night long. The night I came in and heard him, he was sounding so good, I wanted to play with him. So we sat up and played, and I think we played until 9 or 10 o’clock the next day, he and I and I don’t recall who was playing bass at the time. But here Dick Bock had given me an opportunity to record again, and I told him about this kid, and it all came about.
TP: A couple of points you raised. In talking about singers, you didn’t say “playing drums for”, but “keeping time for.” Tony Bennett, Lena Horne, Billy Eckstine for a minute, Billie Holiday, Nat Cole. What’s the difference between playing for a singer within an instrumental situation? Why is it different?
CH: Well, number one, you never know what a singer is going to do.
TP: Does that mean that a singer who is a skilled improviser will treat the music differently, or something less complimentary than that?
CH: Well, all respects to singers, because I learned how to play by playing for singers. It calls upon… You have to have a magic wand and you have to be able to look into the future playing for singers. Because singers are subject to do things on the spur of the moment. It all depends on what their mood is all about. If they get an idea in the middle of a phrase, if they decide they don’t want to phrase that way, it will just change automatically, as opposed to a horn player who is more or less restricted because there is just so much he can do. In other words, there are only so many keys on the instrument, and he’s only got ten fingers on the horn — or three if it’s a trumpet. Singers, first of all, have the perfect instrument, which is the human voice, and they do with what and do what with. And to keep time for them… A lot of singers don’t know how to keep time. They just sing the way that they feel, as if they were singing in the bathroom or in the shower. So in order to make it cohesive as a drummer, you have to keep the thing going so that the other players, if it’s a piano and bass accompanying the singer, make some sense out of it, so it gives them some idea of where they are at all times. Because a lot of times, a lot of singers don’t sing in tune. They have no idea that they’re not in tune, as well as singing the melody or whatever the composition is or whatever the song is.
Overall, in playing for singers, you learn how to anticipate in regards to what they’re going to do and when they’re going to do it. I played for Lena Horne for eight years, and I only saw her once from the front, and that was when we were in Madison Square Garden. All the rest of the time, the only thing I saw of her, man, was her keister. I was right behind her. I developed a system of watching her neck, and I could tell when she was going to reach for a note or something like that. Playing for Lena was something else, because you never knew what Lena might decide…you never knew what tempo she was going to do something in. She could sing, man. I have a tremendous amount of respect for her as a vocalist and for her musicianship… We’re all musicians. You don’t have to be a player to be a musician. In other words, I can’t tell you how to listen. So everybody’s a musician as far as I’m concerned.
TP: Tell me about your brief time with Billy Eckstine. Or how brief was it?
CH: With B? I did several shows with B. That had to be in the late ’40s and then the beginning of the ’50s. Well, number one, B was a trombone player, a musician, and Mr. Class. He was cool! He was one of my favorite singers, him and Johnny Hartman. B contributed a lot, man, to the contemporary style of not only singing, but phrasing and songs, good songs. B sang good songs. Everything he sang became a hit, was automatically a hit… Let’s put it this way. Everything he recorded became big.
TP: Well, he was a style-setter. Like you related the way people would wear Lester Young’s porkpie hat, everyone would try to dress like Billy Eckstine.
CH: That’s right.
TP: He had a much greater impact than people realize on the generation of people who came up after World War Two.
CH: Well, just like Sinatra influenced a lot of people, Eckstine influenced a lot of people. He was very hip.
TP: What was his manner like with the musicians? He was always supposed to be totally at one with…
CH: Oh, man, he was a sideman as far as he was concerned! He was always one of the guys, one of the dudes. B was cool. I mean that in a complimentary sense.
TP: I can’t remember if I asked you about playing with Lady Day or not.
CH: Lady? Playing with Lady was dynamite.
TP: Now, she was unpredictable, but I’ll bet there was never any question about…
CH: No, she wasn’t unpredictable as far as keeping time was concerned. Lady swung. Her and Ella were good swingers. They swung. Their phrasing was different.
TP: Would she treat material differently from one performance to the next?
CH: Not so much as Lena would. Lena would treat material different. Plus, a majority of Lena’s book, her library, her repertoire was very heavily arranged. It was really a challenge, because it was very well arranged, and we always worked with 12-to-15 piece orchestras accompanying her, whereas with Lady it was Bobby Tucker and a bass player and myself sometimes, which was cool, which really kept a free, flowing kind of thing going. With Ella it would be the same thing, small groups.
TP: So the singer would be more like a horn really in a situation like that.
CH: Well, they were. Matter of fact, one of the hippest times I can recall playing with Lady, Wardell Gray was on tenor, Hampton Hawes was on piano, Curtis Counce was on bass, and I was on drums. And man, we swung a hole in her head! I’ll tell you, we had a ball. It was a happening.
TP: So by the mid-’50s, Chico, you were working behind a lot of singers, pretty steady work…
CH: That’s the name of the game, man, steady work. Go ahead.
TP: I understand. And you came up during the Depression, when you had to have a job. That was the first order of business. But I’d like to talk about the development of the Chico Hamilton group in its various configurations. Of course you’d known Buddy Collette for a good twenty years by this time.
CH: Yes.
TP: Fred Katz.
CH: Fred worked with us with Lena Horne. Lena was doing a production number called “Frankie and Johnny”, and wherever we went we had to have a string section. We were here in New York, as a matter of fact, at the Copacabana, and it was during the “Frankie and Johnny” period, which was a huge production number, with singers and things like that. Fred Katz was the cellist in that group. We became friendly, playing together every night and that kind of thing. At that time I had no idea that Fred was a pianist as well. So to make a long story short, when I left Lena I went back to California — my mother was ill. Just playing around town, I became very disappointed in some of my old cronies who I used to play with. I didn’t feel as though they had progressed any. They were still playing the same old kind of way and the same old kind of things. I got bored.
I realized that the only way for me to play and keep it halfway interesting, I had to get my own thing started — and so I did. Originally I was going to use the French horn. There was a French horn player by the name of John Graas. I had met Jim Hall, and I knew Carson from the Gerry Mulligan days. Of course, I knew Buddy from growing up; I needed a triple-threat man to play alto, clarinet, tenor, flute. So the first rehearsal we had, unfortunately, John Graas had a heart attack, so that was the end of that. Out of left field I get a call from Fred Katz who said he was playing for a singer named Jana Mason, and would I help them out; they needed somebody to make a couple of things with them out at one of those Hollywood places. So I said, “yeah,” and I went on out, and I played two nights with them. One thing led on to another, Fred wanted to know what I was doing, and I told him about my group and about John passing. He said, “What if I come up to the rehearsal and bring my cello.” I said, “Yeah!” So he came over, made the rehearsal… It happened to be five guys in the right place at the right time. That’s the bottom
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Chico Hamilton music, videos, stats, and photos
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2024-02-26T00:00:00
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Listen to music from Chico Hamilton like Big Noise From Winnetka, Monday Monday & more. Find the latest tracks, albums, and images from Chico Hamilton.
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Last.fm
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https://www.last.fm/music/Chico%2BHamilton
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https://www.washingtoninformer.com/jazz-drummer-chico-hamilton-passes-away-at-92/
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Jazz Drummer Chico Hamilton Passes Away at 92
|
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"Washington Informer"
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2013-11-29T20:03:18+00:00
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CHARLES J. GANS, Associated Press NEW YORK (AP) — Foreststorn “Chico” Hamilton, an influential jazz drummer and bandleader who was an architect of the West Coast cool jazz style and was known for discovering young talent, has died. He was 92. His publicist, April Thibeault, said Hamilton died Monday night of natural causes at his […]
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en
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The Washington Informer
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https://www.washingtoninformer.com/jazz-drummer-chico-hamilton-passes-away-at-92/
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NEW YORK (AP) — Foreststorn “Chico” Hamilton, an influential jazz drummer and bandleader who was an architect of the West Coast cool jazz style and was known for discovering young talent, has died. He was 92.
His publicist, April Thibeault, said Hamilton died Monday night of natural causes at his home in New York.
A National Endowment for the Arts Jazz Master who was saluted as a Living Jazz Legend by the Kennedy Center, Hamilton recorded more than 60 albums as a bandleader, beginning in the 1950s, and also appeared in and scored films.
He continued playing into his 90s and recorded an album “Inquiring Minds” last month with his Euphoria ensemble scheduled for release in early 2014.
Some of the future jazz stars nurtured in his bands included guitarists Jim Hall, Gabor Szabo and Larry Coryell, saxophonists Eric Dolphy and Charles Lloyd, and bassist Ron Carter.
Born in 1921 in Los Angeles, Hamilton performed in a high school jazz band that included saxophonist Dexter Gordon, bassist Charles Mingus and other classmates destined to become jazz greats. He told jazz writer Marc Myers that he believes he acquired the name Chico because “I was always a small dude.”
He worked as a sideman in the 1940s with Slim Gaillard, Lionel Hampton, Count Basie and others. He toured with singer Lena Horne from 1948-55, and between tours did studio work and played with bands in Los Angeles.
That’s where he hooked up with baritone saxophonist Gerry Mulligan in 1952. Hamilton’s subtle, creative drum playing was a key component of Mulligan’s groundbreaking piano-less quartet featuring trumpeter Chet Baker that was pivotal in the creation of the mellower, more lyrical West Coast cool jazz sound. Hamilton’s understated, seductive approach to the drums contrasted with the driving, hard-bop style typified by East Coast drummer Art Blakey.
“I’ve always seen the drums as a melodic instrument, not a percussive one,” Hamilton told Myers in 2009. “I developed a touch. It may not be as loud but it’s mine.”
Among those inspired by Hamilton was Rolling Stones drummer Charlie Watts, who as a teenager heard a recording by Mulligan’s quartet.
“As it happened, Chico Hamilton was playing drums on the first record I bought,” Watts said in a Los Angeles Times interview. “I can’t really explain how the music made me feel. It was just something with the sound of the brushes. But I just fell in love with it.”
Watts later was interviewed for the 1994 documentary “Chico Hamilton: Dancing to a Different Drummer” and made a guest appearance on Hamilton’s 2001 album “Foreststorn.”
In 1955, Hamilton began his career as a bandleader. He recorded his first album as a leader for the Pacific Jazz label in a trio with bassist George Duvivier and guitarist Howard Roberts that was noteworthy because all three musicians played as soloists rather than strictly as rhythm section players.
Later that year, he formed an unusually instrumented chamber jazz quintet — which included cellist Fred Katz, flutist Buddy Collette and guitarist Hall — that became one of the most influential West Coast jazz bands and gained national prominence.
The group — with flutist Paul Horn and guitarist John Pisano — made a cameo appearance in the 1957 Burt Lancaster-Tony Curtis film, “Sweet Smell of Success.” Hamilton’s band — with Dolphy on flute — gave a memorable performance in the 1960 Newport Jazz Festival documentary “Jazz on a Summer’s Day.” He later revamped the band’s sound, replacing the cellist with a trombonist, to give it a bluesier, more hard-edged sound, recording albums for the Impulse, Columbia and Soul Jazz labels.
In the mid-1960s, Hamilton formed a company to score films and commercials. He wrote the music for the 1967 movie “Repulsion,” director Roman Polanski’s first English-language film, and also composed the theme for the TV cartoon series “The Gerald McBoing-Boing Show.”
In 1987, Hamilton was a founding member of the jazz faculty at the New School University, where his students included John Popper of Blues Traveler and Eric Schenkman of The Spin Doctors. That same year he formed a new band called Euphoria that toured and recorded extensively for the independent Joyous Shout! label, including releasing four new albums to celebrate his 85th birthday in 2006.
Hamilton is survived by his daughter, Denise; his brother Don; one granddaughter and two great-granddaughters. His wife, Helen, and his brother, Bernie, an actor who played the police captain in the TV series “Starsky and Hutch,” both died in 2008.
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JazzProfiles: Chico Hamilton Quintet With Strings Attached [From the Archives]
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Chico Hamilton
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https://jazzprofiles.blogspot.com/favicon.ico
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https://jazzprofiles.blogspot.com/2015/07/chico-hamilton-quintet-with-strings.html
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Focused Profiles on Jazz and its Creators while also Featuring the Work of Guest Writers and Critics on the Subject of Jazz.
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http://www.joyousshout.com/chencyclo.html
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Joyous Shout! Chico Hamilton: Encyclopedia
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Legendary jazz drummer and bandleader Foreststorn Chico Hamilton, born September 20th, 1921 in Los Angeles, had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnett, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise, before striking out on his own as a bandleader in 1955.
Chico's impact upon jazz includes the introduction of two unique and distinct sounds: first in 1955 with his Original Quintet which combined the sounds of his drums, the bass of Carson Smith, the guitar of Jim Hall, the cello of Fred Katz, and the flute of Buddy Collette; and the second in 1962 with his own drums, the bass of Albert Stinson, the guitar of Gabor Szabo, the tenor sax of Charles Lloyd, and the trombone of George Bohanon.
In 1997, Chico received the New School University Jazz & Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, Chico was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President's nomination of Chico to the Presidents Council on the Arts. And in 2007, Chico received a Living Legacy Jazz Award as part of The Kennedy Centers Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.
Dynamic as ever at the age of 91, Chico Hamilton has a resume that includes scores for film, original compositions, commercial jingles, 50 + albums as a leader, and countless international tours. In 2006, Chico released four CD's on Joyous Shout! in celebration of his 85th birthday: "Juniflip" featuring guest appearances from- legendary Love front-man Arthur Lee, criminally under-rated vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; "Believe" with Special Guest appearances from vocalist and R & B Diva Fontella Bass and trombonist George Bohanon; "6th Avenue Romp" featuring Special Guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and "Heritage" with Special Guest appearances from vocalist Marya Lawrence and trombonist George Bohanon. September 2007, Chico released "Hamiltonia" sampling his original compositions from the four albums released in 2006. "Hamiltonia" is an impassioned statement of purpose- an emphatic endorsement of writing and performing THIS music in the NOW, the way the GREATS did in their time, and confirms Hamilton's status as one of the most important living jazz artists and composers.
2008 saw four releases from Chico on Joyous Shout!, two EP's and two previously unreleased recordings, each of which provide a different perspective on the Chico Hamilton experience. Paying homage to Chico's past, the "It's About Time!" EP revisits his first ever recording project as band leader/percussionist. In 1955, Chico recorded a trio album for Pacific Jazz with George Duvivier and Howard Roberts; fast-forward 53 years, and Chico has recast it with his long time collaborators Cary DeNigris on guitar and Paul Ramsey on bass. Chico's distinctive grooves have been rediscovered and refused on the "The Alternate Dimensions of El Chico" EP, a collection of dance/remix tracks and collaborative works with some of today's hottest turntablists including Fertile Ground, SoulFeast (Joe Claussell and Brian Michel Bacchus), Mark de Clive-Lowe, and Blaze. On "Dreams Come True", recorded in 1993, NEA Jazz Masters Andrew Hill and Chico Hamilton deliver a masterpiece of modern improvised music. The two giants are repositories of the history of this music, and here they create a document containing more then is stored in all the history books, sharing and preserving ancient stories and traditions thru their mutual song. And "Trio! Live @ Artpark", recorded in 1994, documents a blazing performance from a power trio led by Hamilton, with guitarist Cary DeNigris and bassist Matthew Garrison- the son of the late Jimmy Garrison. Witness the remarkable synergy and energy between the three as Hamilton leads his steeds thru a series of originals and a heady romp on "Tickle Toe".
Over the years, Chico has had a series of dance floor successes, including his signature song "Conquistadors" from his 60's Impulse album "El Chico", and the Brazilian influenced song "Strut" from Chico's 1979 outing on Elektra "Nomad", which became so successful on the Northern Soul Scene in the U.K. that it had its own dance!! "Conquistadors" also was the signature track for E-man when he rocked the dance floor at Frank's Cocktail Lounge in Brooklyn. In 2002 a track titled "For Mods Only" from Chico's 1968 Impulse album "The Dealer", was included on the Thievery Corporations "SOUNDS FROM THE VERVE HI-FI". Fall of 2005, Rong Music released the 12" vinyl "Kerry's Caravan" from Mudd & Chico Hamilton, a moody yet stunning slice of modern music and a molten melting pot ready made for filling the dance floor with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. The IMPULSIVE! Remix Project features Mark De Clive Lowe's take on Chico's classic 60s track "El Toro". OUT NOW is the limited edition 12" 180 gram vinyl from SoulFeast (Brian Michel Bacchus & Joaquin "Joe" Claussell) with their reworking of "Mysterious Maiden" from Chico's 1980 "Nomad" release, as well as the 12" double vinyl edition of "The Alternative Dimensions of El Chico" CD EP. Available thru www.dopejams.net (sales@dopejams.net).
Hamilton released Twelve Tones of Love on Joyous Shout! in 2009. From Maxwell Chandler's liner notes: "Chico Hamilton looks back not as a summation but with the past as a jumping off point to where he is now; the foundation to build off of what he has to say in the here and now. This album has Chico writing for and playing with an enlarged ensemble, offering us a glimpse of his life's journey and some of those he has shared it with. It speaks greatly of all the musicians' skills that they are performing Chico's compositions yet their interplay becomes another color on his palette, which allows him to further embellish the picture he is painting. This is one of the appealing aspects to all of Chico's music, an always-organic sense of tension and release. Guest spots include trombonist George Bohanon, who was in one of Chico's classic sixties ensembles; vocalist Jose James, who studied under Chico at New School University Jazz and Contemporary Music program; and multi-reedist Jack Kelso, Chico's lifelong friend. This album is a celebration of a lifelong romance Chico has had with music and the relationships that came into his life both past and present through his service to the muse. Those who forge their own way may travel a harder road but their art loses none of its power with the passage of time because of these trials. Twelve Tones of Love is proof of that aphorism to continuously enjoy".
In March of 2011, with his 90th birthday six months off, Hamilton trekked out of his New York City penthouse apartment to helm a marathon recording session resulting in 28 new tracks with his Euphoria group. No one woodsheds like a jazz drummer, and coming off a health setback during the Summer of 2010, Hamilton and his Euphoria group began sheding at weekly rehearsals at Hamilton's Penthouse A. These weekly rehearsals played an important part in Hamilton's rehabilitation, facilitated Hamilton and his group becoming very tight with each other and exploring places musically they had not previously gone together, and brought together a wealth of new original material, offered up in three courses, each of which is a different viewpoint of Hamilton's Revelation.
The Revelation EP on 10" vinyl- Hamilton's very first recording as a leader, Chico Hamilton Trio in 1955 on Pacific Jazz with Howard Roberts & George Duvivier, was pressed up on 10" vinyl. So it seemed a fitting tribute to Chico's longevity as a leader for a selection of Chico originals, two tracks of which are exclusive to this format, 58 years later to be presented in the same format.
The Euphoric EP, on CD- Hamilton's very proud of each member of his Euphoria group, both in how they have matured as players and in how they have developed as composers. A testament to both the prowess of each group member as a composer, and to Hamilton's strength as a leader, this release is a tip of the hat from Hamilton to his Euphoria group gathering the group members original compositions together, half of which are exclusive to this format.
The Revelation CD- With 11 tracks exclusive to this format, Revelation opens and closes with a focus on Hamilton @ his drum kit, and in-between takes us on a different journey from both the melodic and rhythmic points of view. From the up-tempo Latin groove of "Evanly" with its vocal out chorus; the mid tempo swing of "No Way LA" & "Ten Minutes To Twelve"; the Lunceford-like band vocals on "Stompin' @ The Savoy" & "It Don't Mean a Thing (If It Ain't Got that Swing)"; to Hamilton's vocalizing on "Every Time I Smile"; the pastoral melodic beauty of "You're Not Alone"; the up-tempo funk of "Black Eyed Peas"; and the bossa funkiness of "Foot Prints in the Sand" with its starkly beautiful vocal out chorus- every track is like turning a page in a book that's holding you on the edge of your seat, your rapt attention dying to know what's next to be revealed. And indeed what a revelation are these 22 tracks!!
From the Revelation CD liner notes by Maxwell Chandler: "The excitement of new works from Chico is not derived from any absence as he has not stopped, nor is it due to the curiosity factor of seeing what type of artistic phase he is entering into. He does not create in that manner or care about such things, bringing the best of what he has found with him even if only as a component to further his forward moving trajectory. The excitement is due to the knowledge that here is an addition to the oeuvre of an artist who is the rare to find, possessor of freedom derived equally from intellect and soul."
Hamilton was considered one of the most important jazz artists and composers, creating vivid, positive, uplifting, engaging & relevant music until the end of his life. Hamilton died on November 25, 2013 at his apartment in New York City @ the age of 92. Shortly before his death, Hamilton recorded newly composed material with his long-standing Euphoria ensemble, along with featured guest appearances from trombonist George Bohanon and fellow NEA Jazz Master trumpeter Jimmy Owens, for "The Inquiring Mind" CD released on Joyous Shout! February, 2014.
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http://overdoseoffingalcocoa.blogspot.com/2013/10/chico-hamilton.html
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An Overdose Of Fingal Cocoa
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Chico Hamilton - Trio! Live @ Artpark - 2008 - Joyous Shout! Chico Hamilton, a subtle and creative drummer, will probably alway...
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http://overdoseoffingalcocoa.blogspot.com/2013/10/chico-hamilton.html
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Remember, even Cathy Berberian knew that you don't do it without your fez on!
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https://londonjazzcollector.wordpress.com/2020/12/03/chico-hamilton-chic-chic-chico-1965-impulse/
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Chico Hamilton: chic* chic chico (1965) Impulse!
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2020-12-03T00:00:00
|
UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again - Chico at Montreux 1971 added at foot of post. Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly. Selection 1: What's…
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https://secure.gravatar.com/blavatar/9a26151a09d74cf317a93f0f4516d01313d99bf4c1d10b317a001cc310792efa?s=32
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LondonJazzCollector
|
https://londonjazzcollector.wordpress.com/2020/12/03/chico-hamilton-chic-chic-chico-1965-impulse/
|
UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again – Chico at Montreux 1971 added at foot of post.
Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly.
Selection 1: What’s New (Haggart/ Burke (1939) – UK re-mastered from copy tape, EMI pressing, Hayes Middlesex.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2020/12/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-a82_emi-uk-mono.mp3
. . .
Selection 2: What’s New (Haggart/ Burke, 1939), Sparton Canadian press with US Van Gelder metal.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2019/06/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-sparton-van-gelder-a82-mono.mp3
. . .
Both editions are mono. The crunch is the difference between original Van Gelder master (Canada) and UK EMI remastering. If you can’t hear any difference (MP3 320kbps through headphones) that is a compliment to EMI.
Artists:
John Anderson, trumpet; Lou Blackburn, trombone; Henry Sigismonti, French horn; Bill Green, flute, piccolo; Harold Land, tenor sax; Gabor Szabo, guitar; Albert Stinson, bass; Chico Hamilton, drums, recorded Los Angeles, CA, January 4, 1965
Chamber jazz instrumentation, which includes piccolo, flute and french horn. Interesting choice of Harold Land on tenor, and of course the guitar of Gabor Szabo. Long term Chico collaborator, Szabo has been described as “One of the most original guitarists to emerge in the 1960s, mixing his Hungarian heritage and a distinctive sound with advanced jazz settings.” (All Music) “Not essential, but this album has its strong moments”, says AllMusic, who come up short on Hungarian dining-out recommendations. Not at LJC, Goulash-jazz, Hungarian menu spoken here:
(Scene cuts to 1980’s Soho scene, London )
I learned to navigate a Hungarian menu at Soho’s Gay Hussar restaurant in the 1980s, then a favourite haunt of Westminster’s plotting and scheming Socialist elite. (The People’s Party always seems to dine well). Owner and host Victor advances.
Has sir chosen?
I’ll have the Debreceni kolbász (smoked sausage).
And to drink, sir?
The Egri Bikavér? (Bull’s Blood)
Good choice, sir.
The taste of everything here still haunts me today, especially their signature dessert: piped chestnut puree topped with whipped cream, and finished with a glass of Tokaj (five puttonyos) – “Wine of Kings, and King of Wines” , according to the Tokaj Tourist Board.
A table at the Gay Hussar didn’t actually require you to hold rank in the Hungarian cavalry, nor to be gay, as best I recall. It was more like a Gentleman’s Club, just a few hundred yards from Ronnie Scotts, who didn’t require you to be Scottish either, though in the era of London’s most feared gangsters, Ronnie and Reggie Kray, saying you were “a friend of Ronnie’s” on the door never did any harm.
Back to Gabor Szabo.
On the eve of the Hungarian uprising in 1958 , Szabo and family fled to America, settling in California, which was then part of the United States. Gabor attended Berklee College, Boston, then joined Chico Hamilton’s innovative quintet featuring Charles Lloyd , where he perfected his “agile, near-free runs” (All Music). Gabor Szabo was a melodic player, rather than the chordal style favoured in jazz guitar at the time. A guitarist describes Szabo’s style as “filled with cool idiosyncratic elements: clanging open strings; dissonance, articulate jazz runs; Spanish, gypsy, sitar and Hungarian influences; subtle use of feedback as musical colour and all delivered on a Martin flattop with a Dearmond pickup – 180° away from every other jazz guitarist at the time, and since“
After Szabo and Chico parted company, Hamilton recruited Larry Coryell, a jazz rock guitarist whose style does very little for me.
After recording on Hamilton’s El Chico and Further Adventures of El Chico, Szabo established himself as leader in his own right, putting out a series of albums for Impulse including Gypsy ’66, Spellbinder, Sorcerer, More Sorcery, and Jazz Raga. Szabo’s exotic ethno-folk-jazz must have been an interesting novelty in its day. Familiarity with world sounds is more widespread today, perhaps the novelty has worn off, as a sample from The Sorcerer (1967) below suggests. I quite like the “Space” track, which puts me in mind of a long opening for Grace Slick and Jefferson Airplane, where it would sound more at home.
I can live without these Impulse titles, however, I do get an unexpected craving for a Hungarian take away.
Among this body of work, Szabo pursued a variety of musical directions which pleased the eclectic experience-hungry young audiences on the West Coast.
Interest in pop-psychology was running high In the 1970s with the cult of self-improvement, (which later moved on to the less-demanding cult of home improvement). Szabo joined the Church of Scientology, allegedly in pursuit of a rehab program, but fell out with the Church over its asset demands. However a well-known jazz keyboard player is still hanging in there, Chick, Chick, Chick…
Szabo’s career was cruelly cut short by illness in the 1980s, at the age of only 45. Hamilton outlived him by a margin of two years to one, departing in 2013, aged 92 . The Gay Hussar closed its doors in 2018, age 55. Its planned renaissance as a modern English/ French fine dining venture hangs on the fate of London’s recovery, currently on life-support. I understand Ronnie Scotts too is planning to re-open its doors in early December, including a gig by our own national treasure Simon Spillett. I wish them all every success.
Music
I was aware of Chico Hamilton, but despite his Impulse label pedigree, the production and line-up rarely appealed. A drummer as band-leader? OK, Art Blakey, it can work. The real issue is the place of the guitar. I don’t have a problem with guitarists like Billy Bauer, Grant Green or Kenny Burrell, who fit in the jazz tradition. Szabo no doubt has some fans out there, it has a certain rhythmic and harmonic quality, but jazz-ragas feels very dated. Szabo was later replaced by jazz-rock pioneer guitarist Larry Coryell, and guitar would feature in many of Chico’s later line-ups.
In the selection “What’s New” Gabor does a lengthy guitar introduction with acoustic effects, wandering into some introspective noodling and after ages, around 2:35, Harold Land butts in to remind everyone this is meant to be a jazz session, puts in a passionate solo with artful references to the composition, melody, and chord changes, like a pro. Salvages it for me, love Harold Land.
A reprise of Chico’s later Impulse albums repeats the same formula of latino-fusion-jazz-funk, a steam-roller percussion beat, overlaid with funky guitar accents, and a happy sort-of-repeating tune on top. One tune morphs into another, more of the same background soundtrack feel. Hamilton took the next logical step of forming a commercial and film production company, and went on to score numerous feature films, and hundreds of anonymous commercials for TV and radio. Not to belittle commercial work, a guy’s-gotta-eat, but his output seems low on original artistic content, an re-arranger of well established ideas rather than an innovator.
Vinyl:
UK issue of Impulse A 82 , mono, EMI remastering and pressing
Sparton Impulse Canada label – original metal VAN GELDER pedigree
UK Liner Notes
Canadian Gatefold – wins by a (s)mile!
Collector’s Corner
Canada’s Sparton label was fortunate to be on the Columbia distribution list for original metal. Below is an example of another Sparton Impulse, this time stereo, with RVG Stereo stampers:
As for Chico, I am far from won over by his discography, or his partnership with Szabo’s guitar, however a quick look over my namesake city, London, Ontario, has been an eyeopener.
London, Ontario. Fun Facts #1:
Impulse Records were manufactured and distributed in Canada by Sparton Records, of London, Ontario. Utilitarian industrial building, like any other.
Maybe its because I’m a Londoner…but just who are these people to adopt the name of my town? I wanted to find out more.
London, Ontario, known as The Forest City, was the birthplace of Justin Bieber (150m followers on Instagram). With a population in the ’60s of only 170,000, London Ontario was also home to the largest known concentration of serial killers in the world, with least six active killers between 1959 and 1984.
Over the course of 25 years, London Ontario was shaken by 29 gruesome murders, thirteen of whom were attributed to three killers who were eventually caught and convicted: Gerald Thomas Archer, known as the London Chamber Maid Slayer, Christian McGee, known as the Mad Slasher, and Russell Johnson, known as The Balcony Killer. Where’s Sherlock when you need him? At 221B Baker Street, in the other London, of course.
A century or more before these events, the town of London was primed to become the capital of Upper Canada, later Ontario, but that honour eventually went to Toronto, previously named York. A tale of two cities, London Ontario also enjoys a river named The Thames (below, left) Real Thames, England (below right)
In 1838 the British government located its Ontario peninsular garrison in London, in order to repel anyone foolish enough to mistakenly attack the wrong London. In a run of bad luck, five years previously London suffered an outbreak of Cholera, and not long after, a fire destroyed much of the town, which was then largely constructed of wooden buildings. One of the first casualties of the fire was the town’s only fire engine. Bummer, should have seen that one coming.
London, Ontario landmarks included Blackfriars Bridge, Crystal Palace Barracks, the district of Kensington which was renamed London West. The headquarters of The Royal Canadian Regiment remains at Wolseley Barracks on Oxford Street. London, Ontario is a chilling doppelganger of London, England, the place names are the same but everyone has the wrong accent, like an episode of The Outer Limits.
Fast forward to modern international relations. Spurning its long and faithful relationship with Great Britain and The Commonwealth, Canada embarked on a long and steamy affair with France, co-habitating partner of Germany, and co-leader of the European Union, which Great Britain has just left.
All of which goes to show, you just never know who your real friends are, until you find you don’t actually have any.
LJC London – England.
Are any Chico albums worth seeking out? Have I been too harsh on Chico or Gabor? Or indeed, Canada? Thoughts welcome, as always.
UPDATE December 5, 2020: Harry M has the photos, as always, our man was there – Montreux 1971, Chico working up a sweat. Interesting microphones too, everywhere..
Photo Credits: Harry M
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https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
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R.I.P. Chico Hamilton (September 20, 1921-November 25, 2013). Two WKCR Interviews and a DownBeat Blindfold Test
|
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2013-11-26T00:00:00
|
Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the '90s I had the…
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en
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https://s1.wp.com/i/favicon.ico
|
Today Is The Question: Ted Panken on Music, Politics and the Arts
|
https://tedpanken.wordpress.com/2013/11/26/r-i-p-chico-hamilton-september-20-1921-november-25-2013-two-wkcr-interviews-and-a-downbeat-blindfold-test/
|
Word comes through Facebook that drummer-composer Chico Hamilton, a master drummer and bandleader, and fresh thinker through more than 75 years as a professional musician, passed away last night at the age of 92. His immense c.v. and accomplishments will be abundantly available for your perusal on the web. During the ’90s I had the privilege of doing two comprehensive shows with Chico, one a Musician’s Show in 1994, the other a five-hour Sunday “Jazz Profiles” show in 1996. Later, I had an opportunity to conduct a Blindfold Test with Chico at his East Side Manhattan apartment. I’ve appended the full transcripts below.
* * *
Chico Hamilton Musician Show, WKCR, July 20, 1994:
[MUSIC: C. Hamilton, “Around The Corner” (1992)]
TP: We’ll be creating sort of an oral autobiography. Chico is surrounded by records, of which we won’t get to a fifth. It covers the Los Angeles scene in the 1940’s and 1950’s, and a variety of people. The first selection cued up is “Tickletoe,” by the Count Basie, featuring the man who drummed like the wind, Papa Jo Jones, who seems to have been the person who influenced your approach more than anyone else.
CH: That’s absolutely correct, Ted. As a matter of fact, Jo… Actually, the first drummer I ever saw was Sonny Greer, and I was very impressed with him. I was a youngster, about 8 or 9 years old. But when I started playing, which was I guess 9 or 10 or something like that, and when I was in junior high school, all of a sudden Count Basie’s orchestra came on the scene, at least on the West Coast. We began to get his records. Then when I heard Jo Jones… Because Jo completely turned the rhythm aspect of drumming completely around, you know, with the sock cymbal. As a matter of fact, that last composition that you opened up with, “Around the Corner,” was sort of dedicated to Jo Jones and the Count Basie era because of the sock cymbal, you know.
TP: Let me turn the conversation to a few things you touched on in those few sentences. You came up in the Los Angeles area, and when you were ten years old it would have been around…
CH: Well, I’ll tell you. It was two weeks before baseball. How does that grab you?
TP: Do you care to elaborate on that one?
CH: [LAUGHS] Well, I started playing in the late Thirties and early Forties, more or less the early Forties. I guess when I was around 13-14 years old, we had a band, a big 15-piece band. It was under the leadership of a guy by the name of Al Adams, and the only reason why he was the leader is because he was the oldest. I think he was about 19 at the time.
TP: What was the age range?
CH: The age range was from 14 to about 19.
TP: From all over Los Angeles or from the neighborhood?
CH: From the neighborhood and from all over. We had guys like Dexter Gordon, Illinois Jacquet, Ernie Royal, Charlie Mingus, myself, Jack Kelso, Buddy Collette…
TP: Now, for those who aren’t familiar with the West Coast, tell us about the neighborhood, as specifically or as generally as you want to, and the circumstances by which you met, some of the factors in your musical education and so forth.
CH: Well, I don’t know how it was throughout the rest of the country, but in L.A., in the school system, you were required to take music, either Music Appreciation or an instrument or something. It was in the curriculum. You had to be involved with music. Regardless of whether it was junior high school or high school, you had to become involved in music. And at that time, L.A. wasn’t a very large place. As a matter of fact, everybody just about knew everybody. Young guys, young musicians will always be able to get together or find one another, just as they do today. That’s how it really came about. Also, we came out of Jefferson High School, which most of us attended. Buddy and Mingus, of course, were from the Watts area. But the school actually was the common denominator.
TP: There was a very prominent teacher at Jefferson High School, I recollect.
CH: Yes, his name was Samuel Browne, the music teacher there, who virtually, in a sense, encouraged all of us to become good musicians. At that time also, man, it was an unbelievable amount of… All the bands would come to L.A. As a matter of fact, they would let the kids out of school, man, when a band would come into town, which they virtually would come in on the train… They would let us go down to the train station to see Count Basie, Jimmie Lunceford, Benny Goodman, Earl Hines, all the bands.
TP: Where did they play?
CH: Well, there were several places, big cabaret dance halls, virtually. I guess they were called nightclubs, but they were big places. The Casa Mañana(?), the Palladium, the average dance hall name, but…
TP: So you’d have a band, a film, a couple of dancing acts and comedians and so forth…
CH: Well, at that time, most of the bands carried their own show. For instance, when I joined Count Basie’s band, Jimmy Rushing was singing, I forget the lady singer now…
TP: Helen Humes?
CH: Helen Humes. And the dance team that they had was the Berry Brothers, Coles & Atkins, and Pot, Pan and Skillet. All of these were fantastic dance acts. And that would consist of the show, sort of a semi-vaudeville type of show, but the band would be the feature — and they played all over the country. At the Avedon, which was a ballroom, this is where the bands that came in would play, and we all had an opportunity to hear Lunceford and Basie and Duke.
I consider myself very fortunate, Ted, because I came up during the right time. Because to be able to hear the originals, the people who invented this particular style of music, this way of playing… You know, I was there.
TP: I think one thing that’s misunderstood because of the nature of the recording process in the 1920’s and Thirties and early Forties is what the drums sounded like in the big bands and the actual presence of the drums. If you hear them on records, they sound kind of tinny or in the background, but I’ll bet that’s not what it sounded like when you heard Sonny Greer with Ellington, or Jo Jones or Jimmy Crawford…
CH: All of these guys, man…the drummer… You know that old phrase about “give the drummer some.” All of these guys, all of these drummers, all of these great, brilliant musicians, the drummers were determining the styles of the band. It wasn’t so much what the bandleaders were doing. Jimmie Lunceford used to conduct with the baton. Basie, sure, played piano; Duke played piano. But the actual sound of the rhythm, the feeling, the whole mood that was created by the bands was created by these drummers.
Now, Sonny Greer played a particular style of drumming which was like what we might refer to…your listeners might not understand about playing on the beat, one-two-three-four, two-two-three-four. He played DJUN-DJUN, DJUN-DJUN, DJUN-DJUN, DJUN, DJA-DJUN, DJUN-DJUN, DJUN-DJUN, CHOO-CHI-TU, that kind of a thing. Now, the Ellington band swung in that groove. Whereas with the Basie band, Jo Jones did DIT-DI-DANG, DIT-DI-DANG, DIT-DI-CHANG, DIT-DA, DIT-DA, and he swung that band with a completely different feeling than what Ellington had.
Strangely and oddly enough, even bands of today, here, what is this, 19…what year is this…?
TP: 1994.
CH: Here in 1994, a large ensemble still plays with either one of those two grooves, as far as the Jazz aspect is concerned.
TP: When did you start playing drums? When you were 15 or 16?
CH: Well…
TP: In the 1960 Encyclopedia of Jazz it says you started out playing clarinet.
CH: I did. I started out playing clarinet. And the reason I started out playing clarinet is because my best friend, Jack Kelso, played clarinet. So having my best friend play clarinet, I figured, “hey, I’d better…I want to play clarinet.” But I soon gave it up because it became a little bit difficult, you know… Also my older brother was playing drums. This was in grade school, so we had to be no more than 8 or 9 years old. When he… They graduated from grade school in those days, right! So when he graduated, I figured, well, since he was my brother and plays the drums, I’m going to play the drums. And I just started. I had no idea what a drummer did really, but I just said, “Hey, I’m going to do it,” and I just did it.
TP: You did it on his pair of drums?
CH: Well, it was the school drums. The school had the drums. As a matter of fact, we rented the clarinet for two dollars a week (can you believe that?) from the school.
TP: That was a lot of money then.
CH: Oh, tell me about it, man. Tell me about it. That’s virtually, in a sense, how I got started. The more I got into playing and the more I got into the instrument, the more difficult it became, and the more difficult it became, all of a sudden, I realized, “hey, this is it; this is what I’m going to try to do.” I started reaching out, and everyone helped me. Everyone. Everyone I played with.
TP: How would they do that? Talk about how musicians would help a young musician coming up, what the scene was like for a young musician in Los Angeles in the Thirties and early Forties.
CH: Well, in those days, there was a camaraderie, a relationship with musicians. You know, strangely and oddly enough, as young as I was, people like Jo Jones and Lester Young, people like that, the Charlie Parkers, they weren’t that much older than we were…
TP: You’re a year younger than Charlie Parker.
CH: Well, I probably was older than Charlie. I just mentioned him… But the fact is that Bird influenced me tremendously, when I came out of the service, in California. He and Howard McGhee virtually introduced me to what the Bebop scene was all about.
But back in the early days we were very much influenced by anyone that we heard, especially the ones with the names that came to the West Coast. And once the guys came out to the West Coast, it was… Everybody was friendly, everybody was warm. And we jammed a lot, man. We jammed all day and all night long! It was unbelievable, the amount of time we put in the jam sessions. That’s how we learned to play. If it wasn’t happening, somebody would pull your coat and say, “Hey, listen, why don’t you try doing this” or “why don’t you try to do that” or “Why do you want to do this?” — that kind of a thing.
TP: This is the Musician’s Show, and you’ve been listening to Chico Hamilton tell you about coming up there in the Thirties and early Forties as a young drummer. First on cue is “Tickletoe,” the Basie band with Papa Jo Jones. It also said in your biography that you studied with Papa Jo while you were in the Service in the first half of the 1940’s. Tell us about that, and then let’s get to some music.
CH: Well, I’ll tell you how dumb the Army was. [LAUGHS] I was already drafted, I was already stationed at Fort McCullough in Alabama, right. I wasn’t in the band, but I was attached to the band, which means that… They had four other drummers in the band, but none of them could play. They virtually really… I mean this. They couldn’t play. So whenever a show came through, they would send for me, and make… They put me in the drum-and-bugle corps. Now, I came into the Service carrying my drum under my arm. This is the truth, man! And you know, when they put me in the drum-and-bugle corps, do you know what they did? They made me play bugle! [LAUGHS]
Anyway, to make a long story short, when Jo Jones… This is why I’m saying how dumb it was. When Jo Jones and Prez, Lester Young, when they came through there… They were drafted, and they came through the same camp, man. They would not let them in the band! Man, it just broke my heart. They made them… At one time they wouldn’t even allow them to even associate, and come to the band room and things like that. Well, anyway…
TP: Well, Lester Young’s bad times in the Army are very well-documented.
CH: Well, they gave Prez a terrible time, man. First of all, he was a beautiful human being, man. He was a tremendously warm, sensitive human being, and so was Jo. What their contribution to what we call Jazz today, or in the Swing or whatever era…it will never be duplicated. Because try as you might, there’s no one that could get that sound and get that feeling Jo had or could get playing, and the same thing applied to Prez. But in the Service, I had a chance to get with Jo quite a bit when he would come off doing the daily Army thing. We’d get together at night, and we’d jam, we’d play, we’d practice. We would talk drums constantly, and talk music. It was priceless.
[Basie, “Tickletoe” (1940); Ellington, “Ring Dem Bells” (1931); Basie “Topsy: (1938); Lunceford, “Tain’t What You Do” (1939); Prez/Shadow Wilson, “Indiana” (1944); Prez/Chico, “Lester Leaps In” (1946); C. Hamilton Trio, “Tickletoe” (1992)]
TP: We covered quite a bit of ground on that last set of drummers.
CH: Well, just about. Music is very broad, Music is very big, Music is very long, and Music is very beautiful…
[ETC.]
TP: The 1946 performance of “Lester Leaps In” featured Chico’s long-time partner, bassist Red Callender.
CH: As a matter of fact, Red and I did quite a bit of playing together when I was out on the West Coast, when I was out in L.A. I just want to establish a fact that what the people here in New York, the East Coast people, everything they consider the East Coast Sound, which was a big thing, I guess, in the Fifties or Sixties regarding the East Coast versus the West Coast… How that originated, how that came about, I think it was in the Fifties or early Sixties, there was a club here in New York, Basin Street East, and for the first time I was coming east with my original quintet with the cello, with Fred Katz, Carson Smith, Buddy Collette and Jim Hall. We were playing opposite (are you ready?) Max Roach’s original quintet with Clifford Brown and I think it was Harold Land, and Richie Powell and George Morrow. So in order to stir up some…to hip business up, to make it a happening, the publicist started the East Coast versus the West Coast…
TP: Harold Land, of course, was from the West Coast.
CH: He was from the West Coast. But that’s how that East Coast-West Coast thing really got started.
But in the meantime, getting back to Red Callender, Gerry Wiggins, people like that on the West Coast, there was a definite… We had a very definite way of playing, a style, a West Coast style of playing. It’s just like they had a style, all the Kansas City musicians, the musicians from the Midwest — they had a particular style, a way of playing. They swung very heavy, right? Guys on the East Coast, they had their own thing going. I’m speaking before the Bebop Era came in…
TP: How would you put into words the Southwest sound?
CH: Well, the Southwest sound was more… The prime example is Count Basie, the Count Basie Orchestra. There was a band by the name of Nat Towles and Snookum Russell…
TP: Now, did those bands come to California?
CH: No, they didn’t make it to the West Coast. But this was a Midwest type of band. Because during the War years, the early part of the Forties, I sort of left the Service for a quick minute [LAUGHS], and went out on the road with Snookum Russell’s band in the Midwest.
TP: That’s the band J.J. Johnson left Indianapolis with.
CH: That’s right.
TP: What was that band like?
CH: It was just a swinging thing. Just out-and-out swing. I realize today when I use that terminology, “swing,” that a lot of young people don’t know what I’m talking about. But unfortunately, there’s no substitute for it. Because whether you’re playing Rock-and-Roll, whether you’re playing Pop, or whatever you’re playing, it’s got to swing. In other words, it’s got to have a pulse to it, to make you feel like, hey, snapping your fingers or patting your foot. That was the one thing that the Swing Bands did do, man. You couldn’t… It was hard for anyone to keep still when you’d listen to one of those bands.
TP: Also, in Los Angeles, a lot of the Black community came from the Southwest and the South Central parts of the United States, and subsequently settled there. So it seems to me a lot of that sound came into the Los Angeles sound in a certain way. True or false?
CH: Not necessarily. Not during those days. I don’t know… The fact that I was born there… Well, just from my generation up is what I’m familiar with in regards to what music was all about, what Jazz was all about. And the majority of those guys…
TP: They were from L.A.
CH: They were from L.A. Before then, who knows? We all came from…
TP: I was thinking about people coming for jobs in the Navy yards…
CH: Oh, no. Well, this was before then. That started when the War started; people would come there for gigs. But most musicians, if they came there, man, they came there to play. Because there was a zillion places to play at that time.
TP: Let’s talk a bit about the scene in Los Angeles towards the end of the War and the years right after. A lot of musicians also moved to Los Angeles who lived there for long periods of time, like Lester Young, who we heard you with, or Art Tatum…
CH: That’s right.
TP: …and many other people.
CH: Well, after the Service… I think I got out of the Service around 1945. But I came back to L.A. Before I went into the Service, the Swing thing was the thing, the Swing beat — [DA-DANG, DAT-DA-DANG], that was it. Right? When I came out of the Service and came back to L.A., I heard and saw for the first time, and just was blown away completely by Charlie Parker, Miles Davis, Erroll Garner, Howard McGhee, Teddy Edwards, Roy Porter, people like this. Man, this was a whole, brand-new kind of thing to me, man. Because I was down South, and I just only knew one way of playing. And to come back to the West Coast and start hearing Bebop, man, it was just absolutely amazing.
TP: Were you hearing the records when you were in the Service, as they came out…
CH: What records?
TP: Oh, you didn’t get any of those records. Okay.
CH: [LAUGHS] Those records didn’t come that far down there! No, unfortunately we didn’t have that opportunity to hear the records. But it was really amazing. As a matter of fact, man, I was fortunate enough to get a job, join a band by the name of Floyd Ray. In Floyd Ray’s band, there was a piano player by the name of Hampton Hawes, there was a trumpet player by the name of Art Farmer, and his brother, Addison Farmer, played bass. The tenor players were J.D. King, Bill Moore. People like this. It was a big band. We played for… As well as playing dances and things like that, we played shows at theaters. We were playing a show, and headlining the show was this little kid from Detroit by the name of Sugar Chile Robinson. We used to think it was a midget; he was a piano player. The Emcee of the show, who carried the whole show and the dance team, was the Will Mastin Trio, featuring Sammy Davis, Junior. Man, we were playing all up and down the West Coast.
We happened to be in Oakland, and this was maybe like on a Friday night… We heard that the Billy Eckstine band was coming to town to play a dance. And in that band was Art Blakey [PRONOUNCES “Blakeley”], Dexter Gordon and Gene Ammons. I’ll tell you, man, you talk about getting blown away! I had never in my life heard anybody play like Art Blakey! Right? And I was so influenced, carried away by his playing, that the next morning, when we were doing our show, I started trying to play…dropping bombs, as we say, playing Bebop licks on the drums. And man, I almost got fired, because Sammy Davis’ father told me…he said, “What the hell are you doing?!”
But anyway, that was my first really introduction to playing Bebop music. Hearing Art Blakey, man, was just… He turned me completely around. Whereas Jo had set things up in the beginning, he and Sonny Greer, Art Blakey really turned me around.
TP: He gave you a sense of the feeling.
CH: Oh, man, did he ever! Art Blakey was a brilliant, brilliant master percussionist. He was just an out-and-out hard-swinging drummer.
[D. Gordon/T. Edwards, “Blues In Teddy’s Flat” (1947); Bird, “My Old Flame” (1947); Dexter/Wardell, “The Chase” (1947); Howard McGhee, “Thermodynamics” (1946); Eckstine, “Blowin’ The Blues Away” (1944); Hamp/Mingus, “Mingus Fingers” (1947)]
TP: …after “Mingus Fingers” we heard the Billy Eckstine band, the tune Chico Hamilton said was the first he ever heard the band do, “Blowin’ The Blues Away.”
CH: Talk about blowin’ the blues away, man; it really blew me away, man! That was the band I heard in Oakland, California, I think it must have been in 1945, 1946. Man, can you imagine hearing a band like that? It was unbelievable. Unbelievable.
TP: That was a radio broadcast, and Art Blakey’s sound really came through well on that one.
CH: It was fantastic, especially in regards to the fact that they only used maybe a microphone for the reed section and one mike for the brass, and that was it — the rhythm section had to go for itself. The band was swinging, man. It was cookin’. You know?
TP: And I’m imagine they were playing for dancers as well, so there was a whole ambiance that doesn’t exist today.
CH: Well, that’s something that… For instance, every band…Count Basie… Basie had that thing that he knew the right groove to make you dance, want to dance. Jimmie Lunceford had that groove that would make you want to dance. Jimmie Lunceford’s rhythm was basically in a two-beat kind of thing. Basie’s was a 2/4. Duke Ellington? Once in a while you felt like dancing to Duke’s music. But Duke’s music, you listened to it more, in regards to, hey, you just cooled and listened to the amazing arrangements and the brilliant playing of the players.
TP: It seems to me that Ellington had different sets for different audiences, and he could pull out so many things.
CH: Well, different strokes for different folks!
TP: Before that we heard Howard McGhee on a couple of classic Bebop sides, “Thermodynamics,” featuring his virtuosic trumpet from 1947, with Jimmy Bunn on piano, who was present on a lot of these early West Coast dates.
CH: I knew some of Jimmy’s relatives, as a matter of fact. Jimmy’s cousin was a good friend of brother’s, Bernie Hamilton, the actor. Jimmy Bunn is still playing. He’s still in California, and he’s still playing very-very-very good. He perhaps was one of the most underrated players as far as recognition was concerned. But at one time, Jimmy Bunn, nobody in L.A., you know…
TP: He had first call, is what it sounds like.
CH: Exactly. If you couldn’t get Jimmy… Then when Hampton Hawes started coming on the scene, Hampton began to get all the calls. Also in there was Dodo Marmarosa. Dodo was originally from Pennsylvania someplace, but…
TP: Pittsburgh, I think.
CH: Pittsburgh, yeah. But man, Dodo could play, too.
TP: And he recorded with many people, including Charlie Parker.
CH: Yes, he did.
TP: Jimmy Rowles was active in Los Angeles at that time.
CH: Jimmy Rowles. My man, Jimmy Rowles! I haven’t seen Jimmy in quite a while, but last time I heard, he and his daughter were playing together. His daughter, Stacy, plays trumpet.
TP: Before “Thermodynamics” we heard “The Chase,” one of the most famous sessions of that time, also for Dial, recorded in 1947, with Jimmy Bunn, Red Callender on bass, and Chuck Thompson, a very active and strong drummer.
CH: He was a very good drummer. Very good. As a matter of fact, Chuck is still playing. And you mentioned another drummer on the West Coast…
TP: Roy Porter?
CH: I don’t think Roy is playing any more. But before Roy you mentioned…
TP: On one of these tracks?
CH: On one of the tracks.
TP: Well, Roy Porter played with Howard McGhee. And… Well, I don’t know who that was.
CH: He played with the Hampton Hawes Trio.
TP: Oh, Larence Marable.
CH: Larence, yeah!
TP: He was very active, and he’s now going out with Charlie Haden’s group amongst others.
CH: Hey, Larence is a fantastic player.
TP: He’s someone who had an impact on Billy Higgins when Billy Higgins was coming up in the Los Angeles area. Before “The Chase” we heard “My Old Flame” by Charlie Parker for Dial; Bird cut many sides for Dial while in Los Angeles. And we began the set with Dexter Gordon and Teddy Edwards, another tenor duel called “Blues In Teddy’s Flat” with Jimmy Rowles, Red Callender, and Roy Porter
Again, we have this combination of native Los Angeles musicians, and musicians who settled in Los Angeles from other places, like Teddy Edwards, who came from Jackson, Mississippi to Detroit to Los Angeles, or Howard McGhee, who was from Oklahoma, Detroit, then Southwest bands into Los Angeles. I’d like to ask Chico for brief portraits of some of your contemporaries. Let’s begin with Charles Mingus, because you knew Mingus when he was very young. How old were you when you first met? Do you remember?
CH: Well, let me see. I don’t know, I suppose I was about 10 or 11, something like that — 11 or 12. As a matter of fact, Charlie Mingus and my wife went to Sunday School together, attended the same church. Do you believe that?
TP: Which church was that?
CH: It was some church in L.A. I don’t recall the name of it. Buddy Collette and his family attended that church, and Mingus’ family, and my wife’s family attended the church. So actually she knew Mingus before I did. But we were unbelievably young, and unbelievable at that time as young players, as young dudes. We thought we were… As a matter of fact, some of the joints we played, we’d have to disguise ourselves to look older because of the booze thing. But Charlie and I came through a lot of wars together as far as playing on the bandstand. He developed into a very uncanny kind of a musician. I guess that’s my way of saying how brilliant he was. It hurts me, the fact that Charlie had to die a pauper. Because what he contributed to this thing called Jazz and this thing called Music, unfortunately, he really didn’t receive any of the benefits while he was alive.
TP: Some of the things that he wrote… “The Chill Of Death” which he recorded in 1971, was written, I think, when he was 17 years old! Do you remember these pieces, or seeing them? Did you talk about music or his compositions a lot?
CH: Well, you know, every conversation Charlie and I would have would be off the wall! I was never surprised at anything he would say or anything he would do…
TP: Or come up with musically.
CH: Or come up with musically. And I guess he might have thought about me the same way. A funny thing, though, when I came out of the Service, all of these guys, Charlie and Buddy, John Anderson and guys like that, they had gotten re-established again out in L.A. on the famous Central Avenue, and I had to come out… Nobody knew who I was, and I had to sort of establish myself all over again. I got pretty lucky, because I ended up being the house drummer for Billy Berg’s.
TP: A famous club where a lot of Jazz history was made.
CH: All the Jazz, that’s where it was.
TP: That’s where Bird and Diz came through when Bebop first hit the West Coast.
CH: Bird and Diz, right. That’s when I began to play for all the singers, too, at that time.
TP: What were the chain of events that led to that? It couldn’t have been just luck.
CH: Me playing at Billy Berg’s?
TP: To be the house drummer, especially then, you had to be versatile, be able to basically play anything, read, and so forth.
CH: Right. Well, I’d played for him before I went into the Service. He used to have a club called the Club Capri, before Billy Berg’s. As a matter of fact, at the Club Capri, this is when I first… Norman Granz used to be like a go-fer for all the guys. [LAUGHS] You know, he ends up being a zillionaire, an entrepreneur. But anyway, to make a long story short, at the Club Capri, that’s where Lorenzo Flournoy’s band, Red Mack’s band, Lee and Lester Young… When Prez first left Basie’s band, his brother Lee Young had a small group. These were all small groups, no bigger than five or six pieces, seven pieces at the most. Billy Berg’s was the number-one room in Los Angeles at that time. That was it. If you played that room, it was fantastic.
The other room that was called the 331 or the 333, I forget…
[END OF SIDE 2]
…of my playing, of my career, I played with this guy named Myers, Old Man Myers. He kept me on brushes. He wouldn’t let me play sticks at all, man. We would go out and play at least three or four nights a week. Right? I was lucky enough to make… He’d pay me like maybe 75 cents, I mean, really 75 cents! — we were lucky if we made a dollar. But I would play brushes constantly. Constantly. Every time I’d get ready to pick up the sticks, he said, “Put those sticks down!” So fortunately, that helped me to develop a stroke that swept me into some of the choicest gigs at that time.
TP: This conversation evolved from word portraits of some of your associates in Los Angeles at this time. I’d like to ask you about Dexter Gordon, who was a few years younger than you, but came up around the same time.
CH: Well, can you imagine… When Dexter was about 10 years old, he was already twelve feet tall. Then he shrank! We used to call him Big Stoop, from the character in the comic strip Terry and the Pirates — if anybody remembers that.
Anyway, Dexter and I… You might not believe this, but Dexter Gordon and myself, and a trombone player by the name of James Robertson, we were the only three guys, three people period, to get an A in English in high school. That was the toughest teacher in the whole entire system. Her name was Mrs. Smith. And Dexter and myself and James Robinson got an A in English, man!
As a matter of fact, Dexter started off playing clarinet, and he used to play clarinet, he used to come on the campus… Dexter was like the pied piper. Dexter would play his horn anywhere, in the hall, in the room, it didn’t matter — all over the school. And he loved Prez. He just adored…
TP: Took apart the solos and…
CH: Everything was note-for-note. So that’s how we learned to play, virtually, in a sense, by copying the masters, the people who invented that way of playing. But Dexter was, again, a brilliant, fantastic, inventive kind of player. And to be among this kind of talent, you know, you just took it for granted that, hey, he could play, I could play, Ernie Royal could play, you know…
TP: And you went out and played.
CH: And we went out and played.
TP: And then things happened, people heard you, and that’s how…
CH: Exactly.
TP: A few words about Red Callender.
CH: George “Red” Callender. George was a little older than myself and Mingus and Buddy and Jack Kelso. But we had a tremendous amount of respect for Red, because Red was the big-time already. When we got on the L.A. scene before the war, well, Red Callender had been playing with Louis Armstrong and playing with all the big names. And the fact that he was local, he was in L.A., and we… He was… You know, just to be in his presence was something. It meant something to us. We all befriended each other, and we came up this way.
As a matter of fact, at one time Red Callender, myself and a piano player by the name of Dudley Brooks, we were the only three Black musicians that were ever hired by the studios out there; actually put on staff, you know, at Paramount Studios at one time. Because at one time it was a no-no. But we got a job… I was playing for… It was equivalent to being the rehearsal player. I was like the rehearsal drummer. I used to keep time for people like Marilyn Monroe, Sherrie North, I used to work with all the dance directors out there, keeping time for them while they got their act together. But it got boring after a while, and I split.
TP: But the money must have been nice.
CH: Hey, man, listen. It was steady. Right? To get paid every week? It was unbelievable, man. But I don’t know, man, I was always pretty fortunate. I was able to… I’ve been lucky, blessed, because I’ve been always able to have a gig.
TP: Well, it seems you’ve been very flexible and adaptable as well, and yet very determined, and with very definite sounds in your mind’s ear.
CH: Well, I’ve always, first of all, been very proud of my profession. Like, I’m a professional musician, just like a doctor is a professional or a lawyer is a professional. I’ve been very, very highly… Well, this is what I do. In other words, this is the jokes, folks. And I don’t fluff it off. I never blow a gig, man. Whether I sound good or bad or indifferent, man, I’m playing my heart out. I’m playing the best that I can at that time. And that’s it. That’s the way I came up. And I believe in music. I believe in what I’m doing. People are always wondering what I’m going to come up with next. I have no idea what I’m going to come up with next. But I know that when the time comes for me to come up with something different, or change, I will change. I don’t like to get bored.
TP: Well, you were the envy of hundreds of thousands of men as the drummer with Lena Horne for five or six years. The listing is ’48 to ’54, approximately. Is that right?
CH: No, as a matter of fact, ’47 to ’55, I think it was. I’ll tell you, playing for Lena was truly an experience. I give her a tremendous amount of respect and a tremendous amount of credit in regards to her musicianship. Most people don’t realize what a fantastic musician this woman is. And through her, and with her, her late husband, Lennie Hayten, and Luther Henderson, I had an opportunity to really learn what music was all about, how to express what you feel and what you think. Even to this day, man, we’re still friends. I don’t see her that often. But as one of the singers that I had a tremendous amount of respect for and that I kept time for, I would put her up at the top of the class.
TP: Our next selection is by the original Chico Hamilton-Buddy Collette Sextet, recorded for Johnny Otis’ label, Tampa Records, or Dig Records, available through VSOP Replica Editions.
[MUSIC: Chico Hamilton/B. Collette, “It’s You” (1956); Tony Bennett, “Lazy Afternoon” (19 ); Gerry Mulligan, “Frenesi” (1953); Billie Holiday, “Too Marvelous For Words” (1953); C. Hamilton/John Lewis, “2 Degrees East, 3 Degrees West” (1958); C. Hamilton, “Where Or When” (19 )]
TP: That was Chico Hamilton singing, from The Three Faces of Chico, the Chico Hamilton Quintet on Warner Brothers. That’s the group that had Eric Dolphy, one of his four or five recordings with Chico, although of course not prominent on that particular track, Dennis Budimir on cello, Wyatt Ruether(?) and bass and Chico Hamilton on drums.
[ETCETERA]
Let’s begin with the Tony Bennett side and the vocal tracks we heard.
CH: At one time I played for Tony, I kept time for him, and we became friends. When I went out on my own, with my own group and everything, I happened to be on the East Coast, as a matter of fact, in Philadelphia, and I got a call from Tony. He had this idea that he wanted to get all the drummers together. He had me, Jo Jones, Art Blakey, and I forget who else was on there. He wanted to record with all of us. Tony has always been a rhythm man. He’s always had a fantastic appreciation for drums, for drummers…
TP: It had Candido, Papa Jo, Billy Exiner, Sabu…
CH: Billy Exiner was playing with Tony Bennett at that time, and Candido, myself and Jo Jones, right?
Tony asked me which one of the tracks would I play on, and some kind of way, the idea of “Lazy Afternoon” came up, and I told him I really would dig playing to see what I could do with the sort of orchestral approach to the way he was singing “Lazy Afternoon.” And it turned out gorgeous. It really turned out dynamite. We were more than pleased. That’s how that came about.
TP: That’s from The Beat Of My Heart on Columbia Records. Now, Billie Holiday spent a lot of time in Los Angeles as well.
CH: Yes, she did.
TP: Were you a regular part of her group for a while, or was that just a session?
CH: No, no, I was part of her group for a while. I played for Lady in several different groups. At one time, one group consisted of Hampton Hawes, Wardell Gray, myself and Curtis Counce!
TP: Lady Day must have had a chance to rest her chops!
CH: Man, you’re talkin’ about cookin’! We were swinging.
TP: Did you play bebop licks under her, or… How was she in that regard?
CH: Lady kept good time, so all I had to do was swing. I just played myself, you know. As a matter of fact, all of us did. That’s what we did. She was a tremendous musician as well, and she dug musicians being themselves, players being themselves. As a matter of fact, that’s how Prez named her Lady, because she was cool that way. I met her, man, when I was about 14 years old!
TP: What were the circumstances?
CH: Well, I went to a jam session over… Lorenzo Flournoy, who was a piano player at that time, who I was playing with at the time. I was just a kid, man. I knew Prez, man, and Prez asked me, “Do you want to meet Lady?” I didn’t believe it was her, man. She was at the session, right, in the house. That’s where everybody used to put on a big pot of red beans and rice and things like that, and we would blow all day long, right? She was sitting on the saxophone case, she and Prez were sitting on this case. And man, when I came up through the door and I looked at her, I said, “Hey…” I told a friend of mine, [WHISPERING] “Hey, there she is! That’s Lady.” And when we went inside, Prez introduced us. From then on, from time to time I would see her then. Then later on, I started playing for her, working for her, doing dates and everything. At one time, the group was Bobby Tucker and myself…
TP: He was the pianist.
CH: He was a pianist, a fantastic pianist. Bobby was with Eckstine. He was with B for thirty or forty years almost. When he left Lady he joined Billy Eckstine.
TP: And you worked with Billy Eckstine for a minute, too.
CH: I worked with Billy Eckstine. Also I played for… Oh, heh-heh, I played with Billy Eckstine, I played with Sammy Davis, I did some things with Danny Kaye, Ella… Oh, yeah, I forgot about Ella Fitzgerald. And I kept time for Sarah once in a while…
TP: All singers with different styles, different approaches of playing off the drums.
CH: Exactly. Here again, remembering something about Lena Horne: I was right on the floor behind Lena, and the band was behind me. It was very unusual, because here’s the singer, the drummer right behind her, and then the band, the orchestra would be right behind me. It worked. It worked beautifully. I really developed a way of playing for her to the extent it wasn’t offensive; I didn’t get in her way.
TP: Was Billie Holiday a strict rehearser, or was it just get in and hit?
CH: No, Lady was cool, man. She was cool. Every singer I have ever kept time for was very sincere about what they did. And I’m saying that in a complementary way. Whether you understand that, or reading in between the lines or whatever… It wasn’t easy playing for singers, man. It’s not easy. I have a tremendous amount of respect for any drummer that can keep time for a singer.
TP: Why is that?
CH: Well, you never know what a singer is going to do. Because some singers react differently. They react to what people… They react to the audience. If they feel as though they’re not getting to the audience, then they’re going to push, or they think…or either they’re going to fluff off something or whatever. And the first one they’re going to take it out on is going to be the drummer. “What’s the matter? Can’t you keep time?” That sort of thing.
TP: So we’re talking about temperament now.
CH: Exactly. That’s the reason drummers are cool, man. You know, a drummer sits up… When you start to realize that a drummer has to keep time for people, musicians, people he don’t even like, you hear somebody playing, somebody getting their oobies, they’re not making any music, but they’re just sounding like the teacher’s out of the room, that kind of thing — and you have keep time for that and you have to make it sound like something. You know? Because there’s only one drummer.
TP: Well, sometimes there’s two.
CH: No, you’ve only got one drummer, man. One drummer’s keeping time, man. Also, I’d just like to acknowledge the fact that people in general see conga players, timbales players, bongo players, people playing drums with their hands, and they say, “Hey, this is dynamite; that’s fantastic.” But there’s nothing, nothing in the world like a drummer sitting down playing on a set of drums, where his left foot is doing something different from his right foot, his left hand is doing something from his right hand, and the hands are doing something different from the foot, the foot is doing something different from the hands, and he’s playing on at least a half-a-dozen drums at the same time. This is amazing, man. This is really something.
TP: You were part of the Gerry Mulligan pianoless groups on the West Coast in the early 1950’s, and that was a different side of your work as well. Talk about your hookup with him and your contributions to the music as it was developed.
CH: Well…heh-heh…
TP: Uh-oh, I stuck my foot in it.
CH: No. Well, I believe that it just happened to be four people in the right place at the right time. That story is… I can go on and say, “Well, I did this or Gerry did that, or Chet did this, Chet did that,” that kind of thing. No, it just happened that we happened to be in the right place at the right time, and we got together… As a matter of fact, we got together at my house for the first rehearsal that we did. Gerry was out in L.A., and I was out in L.A. at that time. I was still under the employment of Lena Horne, but I stayed home; I didn’t want to go to Europe that year. In the meantime, I was playing with Charlie Barnet’s band, and Gerry used to come out and hang out with me every night at the bar. [LAUGHS] As a matter of fact, he said to me one night, “You know, if I was Charlie Barnet and you played for me like you play for Charlie, I’d fire you!” Because I used to do some pretty funny things with that band. Anyway, Charlie didn’t mind. He was a prince, man. He was a dynamite dude.
But Gerry and I got together, and we were talking about this and that, and next thing I know, hey, he contacts Chet and Bob Whitlock, and we get together, and we just… Like I said, man, it started happening. And it happened, from the first time we sat down to play. I would say everyone contributed, one way or the other; everyone contributed to making the quartet the way it was. That’s how it came off. That’s the reason it came off. It wasn’t just a question of Gerry Mulligan being Gerry… Well, it was a question of Gerry being Gerry, Chet being Chet, me being me, and Bob Whitlock being Bob Whitlock.
That’s putting it simple, man. Mild.
TP: Would you like to get complex? At any rate, the first track we heard featured the genesis of the Chico Hamilton group, the Buddy Collette-Chico Hamilton Sextet, from Tanganyika. You go back as far with Buddy Collette as you do with Mingus, with Dexter Gordon, and so forth.
CH: Right. We go back when we were young dudes, kids more or less, young guys on the scene. As a matter of fact, the first time I heard Buddy, Buddy had his own band, and he had Mingus playing. Mingus really started off playing cello with Buddy’s band, and Buddy made him get the bass, because he realized that the cello was a little weak, that kind of thing, trying to play cello like a full-sized bass. I went out to hear him one night, I went all the way out there to Watts, right — I’d heard about him. I asked him could I sit in, and I did. One thing led to another, and the next thing I know we were all playing in all the bands around L.A. It was interesting.
TP: How did that band develop a repertoire? Because eventually, both of you were working toward a really broad tonal palette particularly.
CH: Yes.
TP: I mean, along with swing, but it went… Talk a bit about that.
CH: What we did, virtually, in a sense, we copied every record that we heard by Count Basie and some of the Duke Ellington things and Jimmie Lunceford, but between them, Jimmie Lunceford and Count Basie are the bands that we imitated, even down to the solos, note-for-note. We even played the same solos, that type of thing. All the licks. I tried to play all the drum licks that Jo Jones would play, that type of thing. And eventually, it was very successful, because also, you must remember, we didn’t have… It wasn’t a matter of deciding whether you were going to play Rock-and-Roll, or whether you’re going to play the Blues, Rhythm-and-Blues, or whether you’re going to play Pop, or whether you’re going to play Country, or anything like that. There was only one kind of music, man, and that was Swing. So in a sense, it was relatively easy. Because hey, there was only one way to play.
TP: We forgot to play some of the sides you backed T-Bone Walker on for Imperial.
CH: Hey! He was amazing.
TP: So we’re going from T-Bone Walker to Tony Bennett to Charlie Barnet’s band to the Gerry Mulligan band…
CH: Right.
TP: You really were covering the whole spectrum of Swing music in the Forties and Fifties.
CH: Well, I’m fortunate. I’ve been fortunate, man. As a matter of fact, I’ve been blessed to be able to do that. Because it was broad. It was very broad. That’s what the spectrum was in regards to what Jazz was all about. Still, even now, what Jazz is all about.
TP: And we’ll be hearing an aspect which Chico Hamilton is defining in his group, in many ways, the cutting edge, one branch that Jazz is in the process of becoming.
CH: Well, I could go through a whole great big series of stories about, “Well, I decided to do this, I decided to do that.” But I don’t know, man… Here, again, about the original quintet with Fred Katz on cello, Buddy Collette on reeds, Jim Hall on guitar and Carson Smith on bass, here again… It’s not a copout, but I feel that it just happened to be five guys in the right place at the right time for that to happen.
TP: Things were in the air…
CH: Things were in the air, and it happened. Because no one knows why it happened. But it happened, and it worked.
[ETCETERA]
This is the first record that Eric Dolphy ever made. This is a Billy Strayhorn composition which is one of my favorites. Most people… A majority, I would say, of Eric Dolphy’s fans and audience don’t realize, or didn’t realize what a tremendous flute player Eric Dolphy was. And this is my presentation of Eric Dolphy, “Something To Live For”
TP: From Strings Attached on Warner Brothers.
[MUSIC: C. Hamilton/E. Dolphy, “Something To Live For”; C. Hamilton, “Mandrake”; C. Hamilton, “Taunts of An Indian”; C. Hamilton, “Guitar Willie”]
TP: A selection of four compositions and performances by various groups under the leadership of Chico Hamilton. That last was “Guitar Willie,” featuring the late Eric Gale from Headhunters, on Solid State, and my guess is that it was recorded around 1970. Do you recollect, Chico? Of course, being a Solid State release from that time, there’s no date, but they have a zip-code.
CH: Probably around ’68. Eric used to do a lot of commercials with me when I was knee-deep on Madison Avenue, you know, doing commercials. That’s music for commercials. Here again that was sort of unusual, because just to have the bass walking and myself keeping that time, and the horns… Steve Potts was on there, and I think…
TP: Russ Andrews on tenor.
CH: Yes, Russ.
TP: Ray Nance appears elsewhere on this release.
CH: That’s right.
TP: And Jan Arnett on bass.
CH: Jan Arnett. It was a happening.
TP: Before that a few selections by the current group, Chico Hamilton and Euphoria. Before that, a very beautiful and affecting piece, “Taunts of An Indian Maiden,” a dedication to your mother.
CH: I dedicated to it to my mother. She was an Indian maiden, you know?
TP: That’s from Arroyo, a 1990 release, with Eric Person, saxophone, Cary DeNegris on electric guitar, and Reggie Washington, one of the better electric bass players around, playing acoustic bass.
CH: Well, he’s playing electric on that. He just sounds… That’s how well he plays it. He’s one of the few fender players that can get the sound of an upright bass.
TP: Before that we heard “Mandrake,” the group’s arrangement of Eric Dolphy’s composition, one of seven compositions arranged by Chico Hamilton and Euphoria on My Panamanian Friend, the most recent release by the group.
CH: It’s an interesting thing. Jeff Caddick was the one who suggested that we do an album of Eric Dolphy’s music. And the more we got into it, the more we started talking about it, the more I realized and he realized, as much as people talk about Eric Dolphy, nobody plays his music.
TP: Well, Oliver Lake is one, and a few other people play his music, but not so much.
CH: Not that many. Hopefully this will shake them up again.
TP: The way that you arrange and set up your songs… I think if one held to a stereotyped view of a Jazz musician, and heard you from all these sessions in the Forties and Fifties, to hear the sound of your bands would seem disjunctive. But it’s obviously not. You’ve always had a predilection, for one thing, for saxophone players who like to get into the extremities of the instrument, from Eric Dolphy to Charles Lloyd to Arthur Blythe to Steve Potts to your current saxophonist, Eric Person.
CH: Well, look, to simplify it, that’s what I’m all about. I’m into sounds, and anybody that sounds different or original (which is pretty difficult) I’m for. I’m open, as far as all music… First of all, I understand fully that it takes all kinds of music to make music. I also understand that I’ve been blessed to the extent that I’m able to make music at this stage of the game of my life or my career, as opposed to just playing it. So that’s what it’s all about. Music I believe is one of God’s will, and God’s will will be done. Right? That’s the name of the game.
TP: If it’s meant to be… Well, you’re making it happen.
CH: Hey, that’s what it’s all about.
TP: A few words about the people in your group. A few words about how musicians find you and you find musicians. Eric Person, first of all.
CH: As a matter of fact, Eric was introduced to me by Arnie Lawrence. Arnie had heard Eric when he was in St. Louis. I think he was at Eric’s school. When Eric came to New York, I think he contacted Arnie, and Arnie in turn contacted me, and that was it. Right away we hit it off. I helped him to grow, and he’s grown, needless to say, and developed into one fantastic kind of a player.
TP: You may not be able to hold on to him.
CH: Well, it’s not a question of holding on. He’s supposed to go on to bigger and better things. That’s what I’m all about, again. Hey, you come this way, you pass through me.
TP: He’s currently with Dave Holland’s group and the World Saxophone Quartet as well as Chico Hamilton’s Ensemble.
CH: Well, this is good, because this gives him an opportunity to play all kinds of ways. I haven’t heard him with the other groups, but I imagine he plays different with them than he does with me. Because we play a different kind of music; a different kind of rhythm, let’s put it like that.
TP: Cary De Negris, the guitarist.
CH: Cary met me. Cary called me when he came from Albany, New York, I think. His potential I heard right away, the first time I heard him play. He has developed, needless to say, into really some other kind of guitar player. He is perhaps one of the most fluent players that’s on the scene today, period, regardless of what style or what kind of guitar playing there is to be played. He’s doing it.
TP: Finally, Matthew Garrison, the group’s newest member.
CH: Well, Matthew’s father used to play with me, Jimmy Garrison. At one time he did dates and things with me. He was brought to my attention by Cary De Negris, who heard him and said, “Hey, Cheeks, you’ve got to hear this bass player.” As a matter of fact, man, he’s so prolific, he sounds like a guitar player. He’s got chops.
TP: Well, his father had that type of fluency in his sound also.
CH: Exactly. So I’m more than pleased, man. I’m having a ball. Because hey, we’re making music.
[MUSIC: “Song For Helen” (1992)]
[-30-]
* * *
Chico Hamilton Profile (WKCR) – (1-14-96):
[RECITAL ON “In the Beginning”, Dance To A Different Drummer: “You know how this all started with me playing, the drums. I guess I was around 8 years old when my mother took me to see Duke Ellington and his Famous Orchestra at the Paramount Theater in Los Angeles, and for the first time in my life, not only did I see an orchestra, but I saw on this pyramid, the top of the pyramid, on top of the whole band was the one and only Sonny Greer. I had never seen anything like this in all my life. Matter of fact, he had so many drums, he had more drums than a drum store. But he was really something special. And that impressed me, the way he played, the way he had control of the band, and the sound he got. He was also perhaps one of the first percussionists in every sense of the word; not just a drummer, but a percussionist, a man who made sounds. Everything he touched made a sound, and it blended and it worked with what Duke Ellington had written and played. Like all kids, it was an impression that stayed with me, and I decided that’s what I wanted to be — another Sonny Greer.”
____________________________________________________________
TP: Chico, do you remember what year you first heard Sonny Greer?
CH: I don’t remember what year it was I heard the band, and I wouldn’t even tell you if I did remember! I was around 8 or 9 years old when I first heard the band.
TP: So it was probably when Ellington first came out to the West Coast, around ’30-’31.
CH: It probably was. You know, one thing about being on the West Coast, all the bands came there, not only Ellington, but Basie, Earl Hines, Benny Goodman, Dorsey — all the bands eventually came to the West Coast. A miraculous thing is the fact that the Board of Education system out there, it was compulsory to take music in all the schools in the system, whether you took a music appreciation course or rented an instrument to play or something like that. Whenever the well-known bands would come to the West Coast, they used to let us out of school to go down to the train station to greet the bands as they came in. Fundamentally, all the guys from the Royal brothers, Ernie and Marshall Royal, Dexter Gordon, Buddy Collette, myself, Jack Kelso, Charlie Mingus, all of us…
TP: Grew up in the same area.
CH: We grew up in the same area, with the same musical aspect in regards to… Like all kids, we had a band…
TP: Where exactly in Los Angeles did you grow up? Was it around Central Avenue, later the real music strip?
CH: Yeah. Los Angeles at that time was the East Side and the West Side, and I think Main Street divided L.A. into what was East and what was West. I was born on the East Side of town and then grew up on the West Side of town. Central Avenue was the street, our avenue; that was our 52nd Street. It only consisted of two or three blocks, but within those two or three blocks, man, you had everything…
TP: You’re talking about the 1930’s, now.
CH: The late 1930’s and the ’40s. They presented a big documentary about the jazz on Central Avenue not too long ago. It’s part of the curriculum at UCLA or one of the schools. Central Avenue… You had the Dunbar Hotel, and then inside the Dunbar Hotel was the Club Alabam, which was the equivalent to the East Coast Cotton Club — the same type of shows.
TP: It would have been the equivalent to the Theresa Hotel in Harlem, or the Braddock or the Woodside.
CH: Exactly. From there, that was the number-one club or joint… That was super big-time, where all the big bands played. Then right outside of Hollywood, in Culver City, there was a club, which I forget the name of. They had at least half-a-dozen big, big rooms, big joints where all the bands played, which made it very lucrative for bands to come to the West Coast, from the Palladium to the Ambassador Hotel. But Central Avenue was the avenue, man. When I was a kid, I used to burn matches and make a moustache so that I could look old enough to go in these joints. This is when Duke Ellington’s band with all these guys, Ben Webster, the people who invented this kind of music, who really did it, were on the scene…
TP: When the bands would come out, the musicians would also circulate after-hours or in other situations, and you would have contact…
CH: This is what I’m getting ready to say. After the gigs, we all hung out at a place called Lovejoy’s which was a joint on Vernon and Central, right on the corner, upstairs. Man, many a night I used to stay in there until 7 and 8 o’clock playing, jamming, and man, I’d have to rush home and go to school… I was in high school, and I’d do everything I could to get the cigarette smoke off of me. But man, we had a ball; we would have a ball. This is how I learned to play. One thing about it, the pros helped us; they helped all the young players. They would listen to you and you’d get a chance to play with them, and they would advise you, give you some tips on what to do and what not to do. Unfortunately, I don’t know whether that still happens today. It was really, really different.
When I got drafted and went to the War and came back, it was a different Central Avenue altogether — completely different. Before I went, all the movie stars and everybody used to hang out on Central. That was it. It was just like hanging out on Broadway here in New York at one time. But when I came back from the War, music had changed completely. As opposed to the Swing thing, we were into the Bebop. Miles, Diz, Bird, Erroll Garner — everybody was in Hollywood at that time.
TP: You got back when?
CH: Late ’45.
TP: Right around when Dizzy Gillespie and Charlie Parker got into Billy Berg’s.
CH: Exactly.
TP: Did you come from a musical family?
CH: No.
TP: Where did the inspiration to play music initially come from.
CH: That’s a very good question, man. I don’t know. I’ve always…music has just… First of all, I’ve never done anything else but play music, or make music, or been into music. My closest friend at the time, who is still my best friend, Jack Kelso, had a clarinet, and I figured since he had a clarinet that I’m gonna get me one; I want to play because my best friend is playing. We were both about 7 or 8 years old, something like that at that time, and that’s how it worked out. To play drums just was a sheer accident, because my older brother was fooling around with the drums in the school orchestra when we were both in grade school, and when he graduated, they didn’t have a drummer, so I just said, “Hey, since he’s my brother, I might as well play.” And I went in, sat down and started playing. I had no idea what I was doing. And the next thing I know, I had the gig, because nobody else wanted to play. Other than that…
TP: Did anybody give you lessons outside of school?
CH: Yes. A friend of mine… I don’t know if you’ve ever heard of Oscar Bradley. Oscar Bradley was on the West Coast; he was the drummer with Les Hite’s orchestra. I used to hear them play. They used to rehearse ar a playground near where I lived. Before I went into the Service, I took some lessons from Lee Young, Prez’ brother. That was about the size of it.
When I went into the Service, there was a drummer by the name of Billy Exiner, who played with Claude Thornhill. Billy taught me how to read music. He’d climb over a mountain, man! It was two camps then, and one was Black and one was White.
TP: This was at Fort McCullough.
CH: Fort McCullough, Alabama, man.
TP: It’s known infamously in jazz history because of the treatment accorded Lester Young and Papa Jo Jones.
CH: I was there, man, when that happened. But Billy Exiner taught me how to read drum music. Actually, I was more or less self-taught. Then when I came out of the Service I enrolled in the Los Angeles Conservatory of Music on the G.I. Bill. That’s when I really got serious about… Well, I was serious about playing, period. I was blessed because I always was able to hear things. I used to depend upon my ear as far as music was concerned, for arrangements, cues and things like that. The fact is that as a teenager, man, I was playing shows, burlesque shows, where you’ve really got to catch all the cues, all the kicks and things like that.
TP: Tell me more about the gigs you had when you were a teenager. When did you first play for a sum of money, and how much was it?
CH: A sum of money? It was 75 cents; like, a half-dollar and a quarter. My friend Jack Kelso and I used to play in a neighborhood band led by a man named Myers, who we called Old Man Myers. He had a family band. One of his sons played piano, another one played trumpet, another one played trombone. It was very common during that time for families to have family orchestras. Most families who were musical had a band…
TP: Such as Lester Young’s family, Louis Jordan’s family, Oscar Pettiford’s family…
CH: Exactly. So it was a very common thing. Jack was playing alto saxophone by that time, and I played drums, and we joined the band. We would rehearse and rehearse, and we’d play. As far as the gigs were concerned, we would drive for half-a-day, it seemed like, outside of L.A. to play a lot of different roadhouses. We had a kitty, and people would give us money to play certain tunes. Funny thing, the name wouldn’t be up there. They wouldn’t say “Myers’ Orchestra”. They would say “All-Colored Orchestra.”
TP: Did that mean that they could expect to hear a certain type of music? Were you expected to play in a certain way.
CH: That was the feature. They knew that at least we wouldn’t be Country music or some down-home stuff or whatever.
TP: What type of things did you play in that orchestra?
CH: We played just the regular standard music, the old standard tunes like “Stardust.” No original material. We just played time whatever was popular on the radio at that time. It was relatively simple. As far as I was concerned, I just had to keep time. He wouldn’t let me use sticks; I always had to use brushes. I’ll tell you, man, I ended up… Every important job that I got seemingly was due to the fact that I could brush, keep time, and be smooth and cool with it. Because I spent about 15 years or more just being an accompanist, playing for singers. But during that time I wanted to play with sticks and he wouldn’t let me. Every time I’d pick up the sticks he said, “Put them sticks down!”
Jack and I used to come home… Sometimes we’d make a buck-and-a-half. Riding for about four or five hours, then playing until 2 or 3 in the morning kind of thing. This was on the weekends, Fridays and Saturday nights.
TP: And you were 14-15-16 when this was happening.
CH: Yes.
TP: At the same time, you were at Jefferson High School, which had one of the most distinguished music programs among Black high schools in the country, and one of the great music teachers, Samuel Browne…
CH: Well, first of all, Jefferson High School wasn’t a Black high school. It was a school in the area, on the East Side. As a matter of fact, man, it was one of the most beautiful schools in the whole state of California. It was the duplicate of Monticello, Jefferson…
TP: Built along the lines of Greek Classical Architecture.
CH: Yes. And there was no such thing as all-Black. There were just as many White students as Black students.
TP: So the community wasn’t as segregated as it later became.
CH: The community wasn’t segregated at all. Because it was a deep mixture. I was born that way. I grew up that way. So it didn’t become…well, if you want to refer to what is a ghetto, what is not a ghetto… It didn’t become a reservation, man, until after the War, when the War started. Because as people progressed financially, they moved to different areas. In fact, the only ghetto area in L.A. at that time was one called Ball Heights, which consisted of a lot of Yiddish, you know…
TP: The Jewish neighborhood in Los Angeles was the only real enclave based on ethnicity or race.
CH: Exactly. And when those people became successful, they moved to Beverly Hills. They started up Beverly Hills.
TP: I’d still like you to talk about Samuel Browne.
CH: Well, Sam Browne was a very good instructor, a very good teacher. But I don’t think he dug me and I didn’t dig him. I didn’t really take music in school. As a matter of fact, he used to give me hell because I was gigging at night, getting to school sometimes on time, sometimes not on time. I wasn’t in the school orchestra at that time, with Dexter and Jack and James Nelson and all those guys. As a matter of fact, I was working with Lorenzo Flournoy working for Billy Berg, at his first place, called the Club Capri.
TP: This was around ’38 or so?
CH: ’38, ’39, something like that. This is before Prez left Basie. I was big-time, man. I think we were making about $37 a week, which was a lot of dough. I had my own car. I was slick. I was cool. But I was already playing… The only reason why I joined the school band was to get a sweater, which they gave you, and I could go to the games free.
TP: That band played a rather challenging repertoire. According to Art Farmer, who was there in 1945, they played Dizzy Gillespie charts at that early time!
CH: Well, yeah. See, that was after my time.
TP: What was he doing in the late 1930’s?
CH: They were playing Swing music. Some Ellington things, Earl Hines kind of things, Horace and Fletcher Henderson, those kind of charts. But here again, I never did anything with them. But the band that came out of Jefferson was a band called Al Adams during that period. We formed that band, which was myself, Dexter, James Nelson, Jack Kelso, Buddy Collette, Mingus, Lady Wilcor(?), my brother-in-law James Henry, who was a trombone player, Ernie Royal was in it. We were all about 15-16-17 years old. As a matter of fact, when Illinois Jacquet first came to L.A. he joined us, and he was about 16 at that time. Man, this band, we raised so much hell… If a union band had a gig and it was paying $5 we’d take the gig for $4 We raised so much hell with the union, they made a deal with us, and we got into the union practically for nothin’! They were so happy…
TP: Get rid of the competition.
CH: From then, we were all in union. I think we paid something like $7 to join; it was ridiculous. But then we started rehearsing at the union. One fantastic thing that happened was that all the bands when they’d come in, like Jimmie Lunceford, would rehearse at the union, so we had a chance to hear them…
TP: So you had a chance to get up close to Jimmy Crawford or Jo Jones…
CH: Oh, man, I’m trying to tell you… And next thing we know, we were doing everything that they were doing, note-for-note, beat-for-beat. We would imitate them. We started playing all the school dances, and we would sound like Jimmie Lunceford, we’d sound like Basie… It was dynamite. Because from that band, the experience I got playing with big bands, and all of us went on to different things and different areas…
I think I was around 16 years old when I got the call to Lionel Hampton’s first band, that “Flying Home” band. Man, I lasted about two or three weeks, because I wasn’t ready. I did get that experience, but I wasn’t quite ready.
TP: What were you lacking, would you say?
CH: Well, my reading was bad. I depended upon my ear at that time, and my sight reading wasn’t… I could play, man. I could swing. I could keep good time. But reading the charts, following the charts down. I couldn’t do it too well. I wasn’t quick enough. They’d waste a lot of time going over different sections just so I could get it. That’s the band where “Flying Home” became a famous thing.
But when I got fired out of that band, that turned my whole life around, my whole career. I really got serious. I’ll never forget the day that they gave me my notice… A friend of mine…well, he wasn’t a friend, but a big-time dude that knew me who was a player, said, “Listen, kid. You’re hurt now, but don’t let it get to you.” It turned my whole life around, man. I really got serious about what I was doing. From there I got drafted, and this is when I started doing my number as far as learning.
TP: In our previous show, you mentioned that in the big bands of the 1930’s, something we can’t hear properly on records is how the drummers shaped the sound of the band, like Jimmy Crawford or Papa Jo Jones or Sonny Greer.
CH: Exactly.
TP: Now, when you were in the Al Adams band, emulating the sounds of those bands, were you emulating the styles of those different drummers.
CH: Yes.
TP: So you had reached that level of proficiency.
CH: Yeah. I could play, man, and I could always keep good time. I had some funny kind of ideas as far as my solo ideas were concerned. I wasn’t a straight up-and-down kind of a player. I have never been interested in being fast, have chops like the Buddy Rich kind of thing. There’s nothing wrong with that particular style of drummer, but I’ve never been interested in it. I’m into sound. I’m into making sounds or creating sounds or inventing sounds, then taking the sounds and creating a mood. The supply and then the demand, that type of thing. But at the time, I could play just like Jimmy Crawford if we were playing a Lunceford type of tune. If we were playing a Basie type of tune, I was Jo Jones. It was groovy. It was cool.
It didn’t get confusing, man, until I came out of the Army. The first dude I heard… Man, I was in Oakland, California, playing a show, in which one of the acts was the Will Mastin Trio featuring Sammy Davis, Jr. We were doing 7 and 8 shows a day, that type of thing. Then we heard Billy Eckstine was going to play a dance that night, a Friday night in Oakland. Needless to say we couldn’t wait to get off after of the last show…
TP: This was with a band called Floyd Ray. A young Art Farmer was in it, Hampton Hawes…
CH: Yeah, Art, Hamp. I’ll tell you something funny as hell that happened when we were up there. I was taking a solo, my big moment, and Mingus came out with a hammer and started hammering on the bandstand while I was playing! [LAUGHS] I got so teed off at him, man…
Anyway, to make a long story short: We heard Eckstine’s band that night. That’s when he had Gene Ammons and Dexter Gordon, “Blowing The Blues Away”, and Art Blakey was on drums. Man, I had never heard anybody play like this before in my whole entire life! I was just flabbergasted! Art Blakey turned me completely around. I had never heard anybody play the Bebop style of drumming.
TP: How would you describe that in relation to what Jo Jones and Sonny Greer were doing in terms of your perceptions at the time?
CH: For instance, Swing, you keep a steady beat going on the sock cymbal, which is the side cymbal, or even the top cymbal — DING, DI-DI-DING, DI-DI-DING. You keep that going. DING, DI-DI-DING, DI-DI-DING, and every once in a while you might do something with your left hand. But in playing Bop the way Art Blakey played, he kept something going, DING, DI-DI-DING, but meantime, man, he’d dance between his left hand and his right foot. DE-DUM, DE-DUM, DE-DUM, BOP!! CHITTI-TI-TI-BUM, CHITTI-TI-TI-BUM. Just dancing all the way through, keeping time, and the band was hitting… It worked! I’d never had no idea of this style of playing. I was just flabbergasted.
So the next morning, back at the theater, first show, I’m playing for Sammy Davis and his uncle and his father, and we’re playing, keeping time, then all of a sudden, I decided I was going to drop one of these bombs — BOP, BOOM!! I did that, man, and Sammy’s father, his uncle, they stopped, turned around, and said, “What are you doing?!”
TP: You didn’t do that any more, huh?
CH: Oh, Ted, it was unbelievable. After the show, he came up to me and said, “Listen, son, you’re our favorite drummer. Don’t do that!” [LAUGHS] I’m just reminiscing. It was funny as hell. But I’m saying this is the first time I’d been turned around.
TP: When you heard Art Blakey, had you been to hear Charlie Parker and Dizzy Gillespie at Billy Berg’s club?
CH: I had just come out of the Army.
TP: And you went right out on that job?
CH: I went right out.
TP: Did you get to see that band during that particular engagement in December ’45 and January ’46.
CH: No, I didn’t. But I played with Bird. After that, during ’45 and ’46, everybody was out on the West Coast. And I used to jam with Bird all the time. There was a place on Central Avenue, the Downbeat, Billy Berg’s…
TP: There was a place called Jack’s Nest.
CH: Jack’s Nest.
TP: And the Finale Club in Japan-Town where Howard McGhee had a band.
CH: Yeah. Maggie was…all the guys. It was just a happening. Roy Porter and Chuck Thompson were the popular drummers around that time in L.A. when I got out. Roy was a Bebop drummer moreso than Chuck Thompson was. That’s when Wardell Gray and all those guys… It was a happening.
TP: There’s a recording from 1946 of you backing Lester Young. What was it like as you for a drummer to play behind Charlie Parker, purely on the rhythmic level? That must have really developed your conception of the instrument.
CH: Charlie was really nice to me. Well, he was nice to everybody, man. He was a brilliant man, a brilliant human being. Not only did he encourage you to play, but he gave everybody a shot, the rhythm people at least, to keep some time for him, just to play, to make a gig. All I know is hey, man, he was a helluva saxophone player. It was entirely different from me playing with Prez or playing with guys who swung in regards to this new style of playing.
Howard McGhee helped me quite a bit with getting into Bebop playing and understanding what the concept was all about, and the phrasing. That was most important thing, how you phrased, in playing this particular style of music, leaving space in the rhythm so you can fill up the holes. As a matter of fact, I don’t know anybody right now who can explain that. I can’t. [LAUGHS] It’s a style of playing that the concept came about by Diz, Bird, Monk, people like that. Strangely and oddly enough, when they left the West Coast, that particular style went East. It didn’t linger on the West Coast. Shorty Rogers and all those guys, people like that, they come out of the Kenton area, and Stan Kenton’s band was a Swing band… I don’t know, it just left. Years later when I came back and started my own thing, the quintet with the cello, flute and guitar, we were the furthest thing in the world from playing Bebop, that particular style.
[MUSIC: Prez-CH, “New Lester Leaps In” (1946); C. Hamilton Trio (Duvivier-Roberts) “Street of Drums”, “Nuttye” (1955); CH-5, “The Morning After” (1956); w/ Billie Holiday, “Too Marvelous For Words” (1956); CH-5, “Gone Lover” (1956)]
CH: This was the first time in the history of recordings that a drum and a guitar and a bass had been recorded as solo instruments alone, as the featured instruments, as opposed to being in a rhythm section. Up until that time, the rhythm section, which consisted of piano, guitar, bass, drums, was always just a section — it was never featured. The fact that we did this… Dick Bock promised to record me because of the Gerry Mulligan Quartet things. Part of the deal was that each one of us would have an album. Doing this, it was really something, because nowhere before in this particular form of music, known aa Jazz, had you heard anything like this. Guitar, bass and drums was very common in Country music and things like that, but not presented as Jazz, solo instruments.
TP: What were some of the inspirations for the idea? You mentioned playing in a lot of different situations as a professional drummer, including Chet Atkins, and you undoubtedly heard the Nat Cole Trio and others that used guitar and bass.
CH: I played with Nat Cole also. As a matter of fact, Nat played for my wedding. I can’t BS your listeners and say I had an inspiration. It just happened. The fact is, I had an opportunity to make an album, and I just thought of something to be different. Because the previous albums I’d done with the original Gerry Mulligan Quartet became unbelievably big as far as record buyers and record listeners were concerned, a different concept having a trumpet, baritone saxophone, bass and drums. So I just more or less fell into the same pattern just by having… I was very fortunate, because George Duvivier and myself at that time were working with Lena Horne, and I knew Howard Roberts and liked the way he played, so when the opportunity arose we just did it, and it came off. It came off beautifully, I thought. When you stop to consider the fact that this is 1996, it still holds up today as contemporary as far as the sound and feeling are concerned.
TP: We’ll step back and ask Chico for word portraits of some of the musicians he was associated with and friends with at different points of his career. I’d like to ask you about Lester Young’s manner as a bandleader, and the kind of relations you had with him.
CH: Let me tell you something about Prez. Prez was one of the most sensitive human beings I have ever met or heard of. He was a very sensitive man. And he was total, total music, man. Prez, Eric Dolphy, people like that… He was totally music. Prez had a tremendous sense of humor for one thing. Half the time I don’t know whether he was putting me on or putting everybody on or what. But he was cool. He was very cool. Also he was very proper.
TP: Well-mannered, you mean?
CH: Well-mannered in regards to being respectful. Prez was cool, man.
TP: Did he have a nickname for you?
CH: [LAUGHS] Yeah, he had one for me… Yeah, he was cool. In fact, Prez introduced me to Roy Haynes, and Roy and I became friends after that. But Prez would call everybody “Miss.” Miss Hamilton, Miss so-and-so; everybody was “Miss” as far as Prez was concerned. As a matter of fact, the original word “smothertucker” came from Prez, heh-heh.
TP: He had a house as well in Los Angeles where a number of people would stay?
CH: Yes.
TP: Any memories of that house? I gather it was a congregating spot.
CH: No, no… I recall when I first met Prez, it was one of those days I played hooky from school, and we were all meeting over at Lorenzo Fluornoy’s house, because he was having a session. We used to put the pots on. In other words, Lorenzo would cook a great big pot of beans or something like that, and all the musicians in L.A. used to come by his pad. This particular day I came by there, and the screen door was open, and I looked in and I saw Prez, and I saw this lady that was sitting on Prez’ saxophone case who was Lady! I told (?), “Hey, man, that’s Lady!” Sure enough, when I got into the house, he said, “Miss Hamilton, Miss Day.” That’s when I first met Lady. She was something else, man; she was really something else, too.
TP: You mentioned Mingus on the tour up and down the West Coast with Floyd Ray, coming out and banging on the bandstand during one of your solos. You went way back with him.
CH: Oh, man, we were almost kids together type of thing.
TP: You grew up near each other.
CH: Well, no. I was in L.A. He was in what they called Central Gardens, which was between L.A. and Watts. But my wife and Charlie and Buddy Collette, all went to Sunday School, all went to the same church.
TP: Do you remember which church?
CH: No. I didn’t make it! [LAUGHS] Oh, man, I guess we go back to 12 or 13 years, back when we were youngsters. People say Charles used to do crazy things, but hey, he was always like that. He was always a mischievous kid, that kind of thing. We got along beautifully. As a matter of fact, I had the pleasure of spending some time with him before he passed away…
TP: You and Mingus and Buddy Collette all knew each other, then, from back when.
CH: Right. Buddy had a great influence upon Charlie. As a matter of fact, Buddy was Charlie’s mentor. Even up until the time he had got out of Dodge, man, he would always call Buddy. Every time he had a problem or would run into something, Buddy was his mentor… As a matter of fact, Charlie was playing cello before he played bass, and Buddy talked him into playing bass as opposed to playing a cello. These guys out in South Los Angeles, they had a band, and we used to jam, and all of a sudden when the main hit came… We all auditioned for one job at the Orpheum Theater, I think it was, to play this show. Buddy had his band there, and we had our band (the Al Adams Band), and we got the job. But we needed Buddy and we needed people like that. [LAUGHS] So that’s how we all became one band. Man, they had a helluva show. The comedian was Mantan Marlan, and I forget who the big star singer…Ninah Mae McKinney… These were superstars at the time, and we were the pit band. That’s how we ended up being one very good band.
TP: In thinking of the types of influences that made the music of the Chico Hamilton Trios and Quintets have a distinctive sound, a lot of the music sounds narrative, like there’s a very specific image in mind, and it would seem influenced in many ways by your exposure to show music and those type of arrangements, film music and things like this.
CH: I’ll tell you. The years that I spent as Lena Horne’s accompanist, I was influenced very heavily by Lennie Hayten, her husband. Between Lennie Hayten and Luther Henderson, my concept as far presentation began to happen, to make things dramatic, make things un-dramatic, whatever…to start creating moods. I guess the real me started to happen. I’ve always been a different kind of player. It was totally impossible for me to try to play like Max Roach, you know, or Art Blakey or Gene Krupa, Jo Jones…
TP: That was part of the ethos of the time anyway, was for players to develop an individual sound.
CH: You took a little bit from him, you took a little bit from him, and a little bit from him, and put it all together, and all of a sudden it became you. That’s what it amounts to.
TP: By the way, on the liner notes to one of these old LPs, which are an invaluable source of information, you mentioned briefly playing with Jimmy Blanton while the Ellington band was in Los Angeles in 1941, I guess.
CH: I sure did. As a matter of fact, I had gone to the movies with my wife, who was my girlfriend at the time, and we had just come home from the movie, and it was about 5 in the afternoon, and when I walked up to the porch door, her mother came out and said, “Forrest, Mr. Ellington… They’ve been calling you all day!” And I said, “Who…?” — that kind of thing. Sitting in the car was Herb Jeffries, and he said, “Man, we’ve been waiting on you. Duke wants you to play.” Sonny became ill, and they were playing the Casa Mañana out in Culver City. Here again, man, I was about 19 years old, something like that. And man, I went out there… We came in through the backstage (because you came in through the back), and the band is playing, and the band was swinging, so man, I just knew they had a drummer up there. My heart stopped. I was sort of disappointed, because I really was looking forward to it. It turned out the band was just hitting, playing its keister off! I went up there and climbed up, way up on the pyramid type of thing…
TP: Well, with Jimmy Blanton, sometimes you might not need a drummer…
CH: Well, at that time, the band set-up was… Sonny Greer was on the top of the band. The band like a pyramid; it came down in pyramids. And way down by Duke, by the keyboard, was Jimmy Blanton. So they were playing, oh, something like “Don’t Get Around Much” or one of those tunes, and man, I just sat down and started playing and started sweeping, and next thing I know, Jimmy Blanton turned around and looked up [LAUGHS], and he says, “Wow!” Anyway, I stayed on there for a couple of weeks.
TP: Did you get drafted shortly after that?
CH: A little later, after I got married. I was about 21 years old. But one thing about young players at that time, we had all the records. Every time a record would come out, man, I had the record, and we would listen to the band. I knew everything everybody did in the band with the solos. I could hum or whistle the solos just note-for-note almost. So this made it really easy in a sense, because I depended upon my ear to play with those bands, to keep the time, because I knew the arrangements. It wasn’t a question of me reading music, because number-one, man, neither Duke nor Basie, when I joined the bands…there wasn’t one stitch of drum music. You either knew the charts, or that was it. So this is how I got around that.
TP: I think one thing about a lot of the drummers of that period, Art Blakey being a great example, is that he could take a piece of music, and then just know it and transform into his thing.
CH: Well, you develop that. That’s something you develop. For instance, the average arranger, he’d write something for the brass section, the reed section or whatever, and write something for the keyboard and bass, would then say to the drummer, “Hey, you know what to do; you’ve got it.” Because it was totally impossible for an arranger to write a drum chart, to make it swing. If it’s a march type of thing, that’s something else. That’s something different. But to write a Jazz chart and make it swing, you don’t need a drum part. You give the drummer the first trumpet part. Because that’s where he’ll make the hits. He’ll play the same kind of figures that the trumpet players would play, more or less.
TP: Dexter Gordon is another of your contemporaries from teenage years. And you mentioned on first hearing the Billy Eckstine Orchestra, it was Jug and Dexter.
CH: That’s right.
TP: I think in a previous interview you described Dexter as being a kind of pied piper as a youngster, who had his horn out all the time.
CH: We used to call him Big Stoop. [LAUGHS] Dexter. Dexter started off playing clarinet, and he constantly had his clarinet in his mouth, all over. That was it. He was just clarinet, clarinet, this type of thing. Man, no one really made the progress that Dexter did. By the time he left L.A., man, automatically he became a giant. He became something else, and he gained the respect of all the pros, all the heavyweight players — Coleman Hawkins, Ben Webster, Prez, people like that. Prez was the master. They all tried to simulate… As a matter of fact, we even tried to walk like Prez, talk like Prez, even the porkpie hat…
TP: Hold the horn sideways.
CH: What a lot of people don’t know is Prez held the horn that way because he had a problem. Most people thought he was doing that for show, but he wasn’t. He did that in order keep the pressure off his gums.
TP: That’s why he didn’t put the mouthpiece all the way in his mouth.
CH: Right. And that’s one of the reasons for the sound he got, which was a beautiful sound. That was the bottom line to it. It wasn’t a question of him doing that just for show. That was the only way he could play his horn.
We came up beautifully, let’s put it like that. As young as we were, we were all total music, too.
TP: It seems like those musical values were instilled in you right from the beginning of playing music. If you were going to go out and play in the community, you had to have certain things right.
CH: Exactly. Even today, man, you never… Music, first of all, deserves to be played well at all times, regardless of whether it’s two people in the place, or if you’re playing in the men’s room or the lady’s room. Music deserves to be played well. I grew up with this understanding. I believe that music is one of God’s will, and God’s will will be done. That’s what keeps it going forever and forever and forever.
TP: Back to Lester Young, let’s go back to Fort McCullough, Alabama, and your recollections of that experience.
CH: Man, that was a bad time period. It’s part of my past that I don’t want to… It was devastating. It was very devastating for the simple reason that I’m in the Service, I’m not in the band, but I’m attached to the band. I’m a drummer, and in my company they made me the company clerk and made me a bugler. The Drum Corps master knew that I was a drummer, but he made me play bugles, just to show you what was going on. And when Prez… Now, they attached me to the band, so I wasn’t in the band, but whenever a show came through there, I had to play the show, because they had three drummers in the band and none of them could play the show. So when Prez and Jo came through there, man, they had guys in this band that couldn’t even hold their instruments. I mean this. And these people wouldn’t let Jo Jones and Lester Young in that band. It was disgraceful. It was unbelievable. I still can’t get over it. But it’s part of my past. It’s just like a lot of other things that happened down there. [LAUGHS] I don’t want to talk about that.
TP: It sounds like the most positive thing that happened there was meeting Billy Exiner and learning how to read music.
CH: That was the most positive thing that happened to me, along with meeting some guys who became my lifelong friends. Jimmy Cheatham, for instance, was one of the guys who was in the band. But other than that… Hey, that was then. This is now.
TP: Right. And in our radio chronology, we’re around 1958 in Chico’s music. The track we’ll hear features a pianist whose name is unknown to me…
CH: Freddie Gambrell.
TP: He, bassist Ben Tucker and Chico form the trio.
CH: Listen, I met this kid in San Francisco. He’s blind, and he could play his keister off, as you will hear. This is very rare for the simple reason I haven’t recorded with piano players that much — period. I played with Art Tatum and Nat Cole, and I did a lot of things with Nat, but it was different, a big thing where he was singing…
TP: Studio productions. But with Art Tatum you played as part of the trio?
CH: Yes.
TP: Talk a little bit about playing behind Art Tatum? Was keeping all you had to do, or did you embellish? What did Art Tatum want from a drummer?
CH: Well, you’d just try to realize where he was going all the time. It was dynamite, it was cool. It was easy playing with Art, in a sense, because all you had to do was swing, keep good time, and that was it. It was just an accompanying kind of thing; that was it.
TP: You just worked with him in Los Angeles?
CH: Just in L.A. I think we played maybe the 333… Just joints all over L.A. Clubs, that is.
[MUSIC: CH w/ F. Gambrell, Ben Tucker, “Lullaby Of The Leaves” (1957); Tony Bennett, “Lazy Afternoon”; CH-5 w/ B. Collette (ts), P. Horn (as), “Take The A-Train” (1958); CH-5, Dolphy-Katz, “Something To Live For” (1958)]
CH: Beat Of My Heart with Tony Bennett was a dynamite record. Tony and I talked about that during when I was playing for Tony, keeping time for him, the combination of keeping time and playing with my own group… Matter of fact, I was in Philly, at the Showboat when they decided to do it, and I had to come up to New York. It came off beautifully. Jo Jones is on there as well. It was really something. Now, Tony has always had a good sense of time. His phrasing is really very unique. Besides, I like him. We’re friends. We’ve been friends a long time.
TP: The first track featured pianist Freddie Gambrell, who seems not to have been heard much from since. That really orchestral piano style. He’d obviously listened some to Ahmad Jamal at that time…
CH: I don’t even know if he’d heard of Ahmad Jamal then, because I don’t think Ahmad Jamal was known on the West Coast during that period. This was just a young kid, man. He was blind, but he could play his keister off. Fantastic pianist. Matter of fact, every time I would be in Frisco, there was an after-hour joint where we used to hang out called Slim’s, and we’d go in there and jam all night long. The night I came in and heard him, he was sounding so good, I wanted to play with him. So we sat up and played, and I think we played until 9 or 10 o’clock the next day, he and I and I don’t recall who was playing bass at the time. But here Dick Bock had given me an opportunity to record again, and I told him about this kid, and it all came about.
TP: A couple of points you raised. In talking about singers, you didn’t say “playing drums for”, but “keeping time for.” Tony Bennett, Lena Horne, Billy Eckstine for a minute, Billie Holiday, Nat Cole. What’s the difference between playing for a singer within an instrumental situation? Why is it different?
CH: Well, number one, you never know what a singer is going to do.
TP: Does that mean that a singer who is a skilled improviser will treat the music differently, or something less complimentary than that?
CH: Well, all respects to singers, because I learned how to play by playing for singers. It calls upon… You have to have a magic wand and you have to be able to look into the future playing for singers. Because singers are subject to do things on the spur of the moment. It all depends on what their mood is all about. If they get an idea in the middle of a phrase, if they decide they don’t want to phrase that way, it will just change automatically, as opposed to a horn player who is more or less restricted because there is just so much he can do. In other words, there are only so many keys on the instrument, and he’s only got ten fingers on the horn — or three if it’s a trumpet. Singers, first of all, have the perfect instrument, which is the human voice, and they do with what and do what with. And to keep time for them… A lot of singers don’t know how to keep time. They just sing the way that they feel, as if they were singing in the bathroom or in the shower. So in order to make it cohesive as a drummer, you have to keep the thing going so that the other players, if it’s a piano and bass accompanying the singer, make some sense out of it, so it gives them some idea of where they are at all times. Because a lot of times, a lot of singers don’t sing in tune. They have no idea that they’re not in tune, as well as singing the melody or whatever the composition is or whatever the song is.
Overall, in playing for singers, you learn how to anticipate in regards to what they’re going to do and when they’re going to do it. I played for Lena Horne for eight years, and I only saw her once from the front, and that was when we were in Madison Square Garden. All the rest of the time, the only thing I saw of her, man, was her keister. I was right behind her. I developed a system of watching her neck, and I could tell when she was going to reach for a note or something like that. Playing for Lena was something else, because you never knew what Lena might decide…you never knew what tempo she was going to do something in. She could sing, man. I have a tremendous amount of respect for her as a vocalist and for her musicianship… We’re all musicians. You don’t have to be a player to be a musician. In other words, I can’t tell you how to listen. So everybody’s a musician as far as I’m concerned.
TP: Tell me about your brief time with Billy Eckstine. Or how brief was it?
CH: With B? I did several shows with B. That had to be in the late ’40s and then the beginning of the ’50s. Well, number one, B was a trombone player, a musician, and Mr. Class. He was cool! He was one of my favorite singers, him and Johnny Hartman. B contributed a lot, man, to the contemporary style of not only singing, but phrasing and songs, good songs. B sang good songs. Everything he sang became a hit, was automatically a hit… Let’s put it this way. Everything he recorded became big.
TP: Well, he was a style-setter. Like you related the way people would wear Lester Young’s porkpie hat, everyone would try to dress like Billy Eckstine.
CH: That’s right.
TP: He had a much greater impact than people realize on the generation of people who came up after World War Two.
CH: Well, just like Sinatra influenced a lot of people, Eckstine influenced a lot of people. He was very hip.
TP: What was his manner like with the musicians? He was always supposed to be totally at one with…
CH: Oh, man, he was a sideman as far as he was concerned! He was always one of the guys, one of the dudes. B was cool. I mean that in a complimentary sense.
TP: I can’t remember if I asked you about playing with Lady Day or not.
CH: Lady? Playing with Lady was dynamite.
TP: Now, she was unpredictable, but I’ll bet there was never any question about…
CH: No, she wasn’t unpredictable as far as keeping time was concerned. Lady swung. Her and Ella were good swingers. They swung. Their phrasing was different.
TP: Would she treat material differently from one performance to the next?
CH: Not so much as Lena would. Lena would treat material different. Plus, a majority of Lena’s book, her library, her repertoire was very heavily arranged. It was really a challenge, because it was very well arranged, and we always worked with 12-to-15 piece orchestras accompanying her, whereas with Lady it was Bobby Tucker and a bass player and myself sometimes, which was cool, which really kept a free, flowing kind of thing going. With Ella it would be the same thing, small groups.
TP: So the singer would be more like a horn really in a situation like that.
CH: Well, they were. Matter of fact, one of the hippest times I can recall playing with Lady, Wardell Gray was on tenor, Hampton Hawes was on piano, Curtis Counce was on bass, and I was on drums. And man, we swung a hole in her head! I’ll tell you, we had a ball. It was a happening.
TP: So by the mid-’50s, Chico, you were working behind a lot of singers, pretty steady work…
CH: That’s the name of the game, man, steady work. Go ahead.
TP: I understand. And you came up during the Depression, when you had to have a job. That was the first order of business. But I’d like to talk about the development of the Chico Hamilton group in its various configurations. Of course you’d known Buddy Collette for a good twenty years by this time.
CH: Yes.
TP: Fred Katz.
CH: Fred worked with us with Lena Horne. Lena was doing a production number called “Frankie and Johnny”, and wherever we went we had to have a string section. We were here in New York, as a matter of fact, at the Copacabana, and it was during the “Frankie and Johnny” period, which was a huge production number, with singers and things like that. Fred Katz was the cellist in that group. We became friendly, playing together every night and that kind of thing. At that time I had no idea that Fred was a pianist as well. So to make a long story short, when I left Lena I went back to California — my mother was ill. Just playing around town, I became very disappointed in some of my old cronies who I used to play with. I didn’t feel as though they had progressed any. They were still playing the same old kind of way and the same old kind of things. I got bored.
I realized that the only way for me to play and keep it halfway interesting, I had to get my own thing started — and so I did. Originally I was going to use the French horn. There was a French horn player by the name of John Graas. I had met Jim Hall, and I knew Carson from the Gerry Mulligan days. Of course, I knew Buddy from growing up; I needed a triple-threat man to play alto, clarinet, tenor, flute. So the first rehearsal we had, unfortunately, John Graas had a heart attack, so that was the end of that. Out of left field I get a call from Fred Katz who said he was playing for a singer named Jana Mason, and would I help them out; they needed somebody to make a couple of things with them out at one of those Hollywood places. So I said, “yeah,” and I went on out, and I played two nights with them. One thing led on to another, Fred wanted to know what I was doing, and I told him about my group and about John passing. He said, “What if I come up to the rehearsal and bring my cello.” I said, “Yeah!” So he came over, made the rehearsal… It happened to be five guys in the right place at the right time. That’s the bottom
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His death was announced by April Thibeault, his publicist.
Never among the flashiest or most muscular of jazz drummers, Mr. Hamilton had a subtle and melodic approach that made him ideally suited for the understated style that came to be known as cool jazz, of which his hometown, Los Angeles, was the epicenter.
He was a charter member of the baritone saxophonist Gerry Mulligan’s quartet, which helped lay the groundwork for the cool movement. His own quintet, which he formed shortly after leaving the Mulligan group, came to be regarded as the quintessence of cool. With its quiet intensity, its intricate arrangements and its uniquely pastel instrumentation of flute, guitar, cello, bass and drums — the flutist, Buddy Collette, also played alto saxophone — the Chico Hamilton Quintet became one of the most popular groups in jazz. (The cellist in that group, Fred Katz, died in September.)
The group was a mainstay of the nightclub and jazz festival circuit and even appeared in movies. It was prominently featured in the 1957 film “Sweet Smell of Success,” with Burt Lancaster and Tony Curtis. (One character in that movie, a guitarist played by Martin Milner, was a member of the Hamilton group on screen, miming to the playing of the quintet’s real guitarist, John Pisano.) And it was seen in “Jazz on a Summer’s Day,” Bert Stern’s acclaimed documentary about the 1958 Newport Jazz Festival.
Cool jazz had fallen out of favor by the mid-1960s, but by then Mr. Hamilton had already altered the sound and style of his quintet, replacing the cellist with a trombonist and adopting a bluesier, more aggressive approach.
In 1966, after more personnel changes and more shifts in audience tastes, Mr. Hamilton, no longer on top of the jazz world but increasingly interested in composing — he wrote the music for Roman Polanski’s 1965 film, “Repulsion” — disbanded the quintet and formed a company that provided music for television shows and commercials.
But he continued to perform and record occasionally, and by the mid-1970s he was back on the road as a bandleader full time. He was never again as big a star as he had been in the 1950s, but he remained active, and his music became increasingly difficult to categorize, incorporating elements of free jazz, jazz-rock fusion and other styles.
He was born Foreststorn Hamilton in Los Angeles on Sept. 21, 1921. His father, Jesse, worked at the University Club of Southern California, and his mother, Pearl Lee Gonzales Cooley Hamilton, was a school dietitian.
Asked by Marc Myers of the website JazzWax how he got the name Chico, he said he wasn’t sure but thought he acquired it as a teenager because “I was always a small dude.”
While still in high school he immersed himself in the local jazz scene, and by 1940 he was touring with Lionel Hampton’s big band. After serving in the Army during World War II, he worked briefly with the bands of Jimmy Mundy, Charlie Barnet and Count Basie before becoming the house drummer at the Los Angeles nightclub Billy Berg’s in 1946.
From 1948 to 1955 he toured Europe in the summers as a member of Lena Horne’s backup band, while playing the rest of the year in Los Angeles. His softly propulsive playing was an essential element in the popularity of Mulligan’s 1952 quartet, which also included Chet Baker on trumpet but, unusually, did not have a pianist. The group helped set the template for what came to be known as West Coast jazz, smoother and more cerebral than its East Coast counterpart.
The high profile he achieved with Mulligan emboldened him to try his luck as a bandleader, something fairly unusual for a drummer in the 1950s. His success was almost instantaneous.
He went on to record prolifically for a variety of labels, including Pacific Jazz, Impulse, Columbia and Soul Note. Among the honors he received were a National Endowment for the Arts Jazz Masters Award in 2004 and a Kennedy Center Living Jazz Legend Award in 2007.
Although slowed by age, Mr. Hamilton continued to perform and record beyond his 90th birthday. He released an album, “Revelation,” in 2011 on the Joyous Shout label, and had recently completed another one, “Inquiring Minds,” scheduled for release in 2014. Until late last year he was appearing at the Manhattan nightclub Drom with Euphoria, the group he had led since 1989.
Mr. Hamilton is survived by a brother, Don; a daughter, Denise Hamilton; a granddaughter; and two great-granddaughters. His brother the actor Bernie Hamilton, and his wife, Helen Hamilton, both died in 2008.
Mr. Hamilton was highly regarded not just for his drumming, but also as a talent scout. Musicians who passed through his group before achieving stardom on their own include the bassist Ron Carter, the saxophonists Eric Dolphy and Charles Lloyd and the guitarists Jim Hall, Gabor Szabo and Larry Coryell. In a 1992 interview with National Public Radio, the saxophonist Eric Person, a longtime sideman, praised Mr. Hamilton for teaching “how to work on the bandstand, how you dress onstage, how you carry yourself in public.”
Mr. Hamilton taught those lessons as a bandleader and, for more than two decades, as a faculty member at the New School for Jazz and Contemporary Music in New York. Teaching young musicians, he told The Providence Journal in Rhode Island in 2006, was “not difficult if they realize how fortunate they are.”
“But,” he added, “if they’re on an ego trip, that’s their problem.”
Daniel E. Slotnik contributed reporting.
This article has been revised to reflect the following correction:
Correction: November 26, 2013
An earlier version of this obituary misidentified the guitarist who is heard with Mr. Hamilton’s quintet on the soundtrack of “Sweet Smell of Success.” He is John Pisano, not Jim Hall.
★ Ben Allison Band (Tuesday) The bassist and composer Ben Allison moves incrementally closer to a rock ethos on his forthcoming album, “The Stars Look Very Different Today.” (The title is from a David Bowie lyric.) The album, which is being released the day of this show, features Mr. Allison’s aggressive but agile working band, with Steve Cardenas and Brandon Seabrook on guitars and Allison Miller on drums. At 9:30 p.m., Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $15 in advance, $20 at the door. (Nate Chinen)
Peter and Will Anderson (Tuesday through Dec. 29) The upstanding young torchbearers Peter and Will Anderson — also saxophonists, clarinetists, Juilliard alumni and identical twins — present a show called “Le Jazz Hot: How the French Saved Jazz.” The engagement, running through much of December, will feature a quintet inspired by the music of Django Reinhardt, Sidney Bechet and others. Tuesdays through Thursdays at 7:30 p.m., Fridays at 8:30 p.m., Saturdays at 5:30 and 8:30 p.m., Sundays at 3:30 and 7:30 p.m., 59E59 Theaters, 59 East 59th Street, Manhattan, (212) 753-5959, 59e59.org; $25, $17.50 for members. (Chinen)
Bushman’s Revenge (Saturday and Monday) This furious-sounding Norwegian power trio — the guitarist Even Helte Hermansen, the bassist Rune Nergaard and the drummer Gard Nilssen — takes an approach to jazz-rock that owes as much to Black Sabbath as it does to Tony Williams Lifetime. The band has a convincing new album, “Thou Shalt Boogie,” that should provide fodder for these club dates, each with an opening set by Cortex, a jazz combo led by the trumpeter Thomas Johansson. Saturday at 10:30 p.m., Nublu, 62 Avenue C, between Fourth and Fifth Streets, East Village, nublu.net; $10. Monday at 11 p.m., Shrine, 2271 Adam Clayton Powell Boulevard, at 134th Street, (212) 690-7807, shrinenyc.com; no cover charge. (Chinen)
Marc Cary Focus Trio (Wednesday) Marc Cary approaches the piano trio tradition from a predominantly rhythmic standpoint, but with ample harmonic sophistication. His Focus Trio, with Rashaan Carter on bass and Sameer Gupta on drums, is celebrating the release of its most recent album, “Four Directions.” At 7:30 and 9:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $20. (Chinen)
Brian Charette Organ Sextette (Wednesday and Thursday) The Hammond B-3 organist Brian Charette weighs the ageless objective of soul-jazz with a trace of restless modernity. His band has Itai Kriss on flute, Mike DiRubbo and Kenny Brooks on saxophones, John Ellis on bass clarinet and Mark Ferber on drums. From 9:30 p.m. to midnight, Smalls Jazz Club, 183 West 10th Street, West Village, smallsjazzclub.com; $20 cover. (Chinen)
★ Freddy Cole Holiday Celebration (Friday through Sunday) The singer and pianist Freddy Cole exudes a gallant but unfussy brand of cool. He is singing Christmas songs in this weekend engagement, and as usual, his maturity will most likely manifest itself as understatement. At 8 and 10:30 p.m., Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592, bluenote.net; $35 cover at tables, $20 at the bar, with a $5 minimum. (Chinen)
Sylvie Courvoisier Trio (Wednesday) Sylvie Courvoisier is a pianist with a precise technique but an exploratory temperament, and she should have a strong rapport with her smartly rugged rhythm team here, with Drew Gress on bass and Kenny Wollessen on drums. At 9:30 p.m., ShapeShifter Lab, 18 Whitwell Place, Park Slope, Brooklyn, shapeshifterlab.com; $15. (Chinen)
Steve Davis Sextet: The Music of J. J. Johnson (Friday and Saturday) The trombonist Steve Davis pays homage to a giant of his instrument with a band that features the trumpeter Eddie Henderson, the tenor saxophonist Eric Alexander, the pianist Harold Mabern, the bassist John Webber and the drummer Joe Farnsworth. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, (212) 864-6662, smokejazz.com; $38 cover. (Chinen)
Alan Ferber’s Big Band (Friday and Saturday) The trombonist Alan Ferber has a core familiarity with large-ensemble work — he typically leads a nonet, often augmented by a string section — so he should be on solid footing with this big band, stocked with versatile peers like the saxophonist Chris Cheek, the trumpeter Taylor Haskins and the guitarist Nir Felder. At 9 and 11 p.m., the Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, (646) 494-3625, jazzgallery.org; $20, $10 for members. (Chinen)
★ Benny Golson Quartet (Thursday through Dec. 8) The tenor saxophonist Benny Golson is celebrated in jazz culture for a number of things: his smartly sturdy compositions; his gruff but dignified sound; his voluminous, loquacious wit. All are sure to factor into this run, featuring Mike LeDonne on piano, Buster Williams on bass and Carl Allen on drums. At 7:30 and 9:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $30. (Chinen)
Wycliffe Gordon & Friends: The Music of Duke, Dizzy, and the Dorseys (Friday through Sunday) A charismatic trombonist specializing in gutbucket swing, Wycliffe Gordon pays tribute to a handful of jazz heroes with a band that includes Dee Daniels on vocals (on Friday), Joseph Boga on trumpet (on Saturday and Sunday), and Pete and Will Anderson on saxophones (on Sunday). At 7:30 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; $40 and $45 cover, with a $10 minimum; $25 for students. (Chinen)
★ Dave Holland’s Prism (Friday and Saturday) The bassist-bandleader Dave Holland digs back into knockabout jazz-funk mode with “Prism,” his potent new album, which features a famous old colleague, the guitarist Kevin Eubanks, along with the brilliant pianist Craig Taborn and the indomitable drummer Eric Harland. And there’s every reason to believe that this engagement, which follows a long stretch on the road, will showcase the band even more emphatically. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; $40, with a $10 minimum. (Chinen)
Hush Point (Friday) A collective formed not long ago by John McNeil, a trumpeter of dry wit and lyrical concision, and Jeremy Udden, a saxophonist of fluid introspection, Hush Point features new original music, and the responsive young rhythm team of Aryeh Kobrinsky on bass and Vinnie Sperrazza on drums. The band will play music from its recent, self-titled album as well as a sequel, to be recorded early in the new year. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, (212) 989-9319, corneliastreetcafe.com; $20 cover, which includes one drink. (Chinen)
Joe Locke-Geoffrey Keezer Quartet (Tuesday) A kinetic and harmonically sophisticated vibraphonist, Joe Locke has recently been working with the pianist Geoffrey Keezer, his equal in fluid composure. As on their album “Signing,” they join forces with the bassist Mike Pope and the drummer Terreon Gully. At 7:30 and 9:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $20. (Chinen)
★ Jason Moran and the Bandwagon (Friday through Sunday) Mr. Moran, the broadly heralded pianist and composer, has been busy of late as a bicoastal concert programmer (at the Kennedy Center and the SFJazz Center), and his next album will be a conceptual tribute to Fats Waller. Despite all that, or maybe because of it, he has kept a freshness in his interactions with Tarus Mateen on bass guitar and Nasheet Waits on drums; as the Bandwagon, they still have every bit of the grounded swagger that works so well in rooms like this one (and especially this one). At 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 and $30 cover, with a one-drink minimum. (Chinen)
Now vs. Now (Wednesday) This hyper-literate groove band, with Jason Lindner on piano and synthesizers, Panagiotis Andreou on bass and Mark Guiliana on drums, celebrates the release of “Earth Analog,” a manifesto in the form of an album. At 7 p.m., Rockwood Music Hall, 196 Allen Street, between Stanton and Houston Streets, Lower East Side, (212) 477-4155, rockwoodmusichall.com; $10. (Chinen)
Rufus Reid and the Out Front Trio (Friday) Out Front is the longtime outlet for Mr. Reid, a bassist with more than 40 years of experience. A trio with the pianist Steve Allee and the drummer Duduka Da Fonseca, it upholds a cruising, unflappable vision of postbop — here as on a recent, self-titled album. At 8 and 10 p.m., Jazz at Kitano, 66 Park Avenue, at 38th Street, (212) 885-7119, kitano.com; $25 cover, with a $15 minimum. (Chinen)
Ted Rosenthal Trio (Tuesday) Ted Rosenthal, a pianist of fastidious purpose, has a new holiday album, “Wonderland,” featuring the same attentive trio found here, with Noriko Ueda on bass and Tim Horner on drums. At 7:30 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; $30 cover, with a $10 minimum; $15 for students. (Chinen)
David Sanborn (Tuesday through Dec. 8) An alto saxophonist synonymous with unctuous, gleaming crossover fare, Mr. Sanborn has been returning to his roots: the piquant soul-jazz of Hank Crawford and, by extension, Ray Charles. He returns to his regular New York perch with a band that includes Ricky Peterson on organ and piano, Nicky Moroch on guitar, Richard Patterson on bass and Gene Lake on drums. At 8 and 10:30 p.m., Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592, bluenote.net; $55 cover at tables, $30 at the bar, with a $5 minimum. (Chinen)
Nick Sanders Trio (Thursday) Nick Sanders is a young pianist, originally from New Orleans, with a precise touch and a wealth of information at his command. As on his prepossessing new debut album, “Nameless Neighbors,” he appears here with the bassist Henry Fraser and the drummer Connor Baker. At 9 and 11 p.m., The Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, (646) 494-3625, jazzgallery.org; $15, $10 for members in the first set; $10, $5 for members in the second set. (Chinen)
★ Maria Schneider Orchestra (Friday through Sunday) Evocative harmonic coloration and swirling rhythmic undercurrent are two of the chief devices of this large ensemble, led by the composer Maria Schneider. Its annual Thanksgiving week engagement will feature strong contributions — from the likes of the alto saxophonist Steve Wilson, the trombonist Ryan Keberle and the pianist Frank Kimbrough — but its true strength lies in a virtually unsurpassed ensemble cohesion. At 7:30 and 9:30 p.m., with an 11:30 set on Friday and Saturday, Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $35. (Chinen)
★ Esperanza Spalding (Tuesday through Dec. 8) “We Are America,” the stand-alone new single by Esperanza Spalding, unfolds as an earnest message song, aimed at closing the detention camp at Guantánamo Bay, Cuba. It’s the latest example of the uses that Ms. Spalding finds for her own celebrity — and a fine extension of the music on “Radio Music Society,” the crossover pop album she released last year. She has worked as both a leader and an ensemble member at the Village Vanguard, but not with this crew, before now. At 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 cover, with a one-drink minimum. (Chinen)
Seated in the living room of his casually elegant home here in West Hollywood, not far from an alcove crowded with Grammy Awards — more than a dozen of them, including one for album of the year — Mr. Hancock, 73, was in a cordial mood, quick with a disarming laugh. He was also still jet-lagged from an East Asian tour that had ended in copious meetings with government officials about International Jazz Day, his signature initiative as a good will ambassador for Unesco. Fortunately, there was a stretch of relative calm ahead before he was due in Washington, for this year’s Kennedy Center Honors, where he’ll be among a class of five honorees that includes Billy Joel and Shirley MacLaine. (The gala concert, which happens next Sunday, will be broadcast by CBS on Dec. 29.)
Mr. Hancock’s eminence in jazz goes hand in hand with his stature in the realm of pop, to a degree that nobody else has ever managed. After redefining the language of post-bop piano in the 1960s, he delved into funk, electronic music and pop-R&B, leaving his mark at nearly every turn. A handsome new boxed set, “The Complete Columbia Album Collection 1972-1988” (Legacy), gathers his sweep on 34 CDs; among the albums are “Head Hunters,” a jazz-funk experiment that has sold more than a million copies, and “Future Shock,” whose hit single, “Rockit,” became an early hip-hop touchstone and a surrealist fixture of the frontier era of MTV. In the same spirit, Mr. Hancock’s next album will probably be a collaboration with Flying Lotus, the head-trippy electronic producer, and Thundercat, an affiliated electric bass virtuoso and vocalist.
Disclaimers aside, few would dispute that Mr. Hancock has become one of jazz’s chief emissaries. Along with his Unesco appointment, he’s creative chairman for jazz at the Los Angeles Philharmonic, and chairman of the Thelonious Monk Institute of Jazz, which runs not only a prestigious competition and postgraduate program but also educational outreach worldwide. When he accepted that Grammy for album of the year in 2008, for “River: The Joni Letters” (Verve), a gently illuminated tribute to his friend Joni Mitchell, he was the one to point out that it had been 43 years since a jazz artist won the award.
That Mr. Hancock has always considered jazz his core — whatever the style he happened to be playing, and however shrill the objections of his critics — can be chalked up to his elastic understanding of the art form. “The thing that keeps jazz alive, even if it’s under the radar,” he said, “is that it is so free and so open to not only lend its influence to other genres, but to borrow and be influenced by other genres. That’s the way it breathes.”
This credo seems by now like a personal truism for him. It will probably form a major thread in his memoir, due out from Viking next fall, and in “The Ethics of Jazz,” a series of lectures he’s scheduled to give at Harvard as the 2014 Charles Eliot Norton professor of poetry, a position previously held by T. S. Eliot and Igor Stravinsky, among others. Some of his lecture topics add up to a précis of themes from his career: “The Wisdom of Miles Davis.” “Breaking the Rules.” “Innovation And New Technologies.” “Cultural Diplomacy and the Voice of Freedom.”
Mr. Hancock studied classical music as a child, but growing up in Chicago, he couldn’t help hearing his share of blues. At the time, his tastes ran more toward doo-wop: “I heard the Ravens, and the Five Thrills, and the Penguins, and the Midnighters.” Jazz gripped him after he heard a classmate’s piano trio at a school talent show.
He enrolled as an engineering major at Grinnell College, though it wasn’t long before he was discovered by the trumpeter Donald Byrd. After appearing on several of Byrd’s Blue Note albums, he made his own debut on the label, in 1962. And for anyone who has decried the pull of commercialism in his career, it’s worth remembering that the first track on that album was “Watermelon Man,” a soulful tune that fast became a hit.
Mr. Hancock was hired by Miles Davis the following year, becoming the harmonic linchpin in one of the most accomplished small groups in jazz history. “He is one of those rare people in the music that really created a shift,” the pianist Geri Allen said of Mr. Hancock’s work in that band. “After him, everything changed in terms of what people thought the piano was capable of. His knowledge base was so inclusive and thorough, and beside that was his absolute virtuosity and humanity.”
During his five-year tenure with Davis, Mr. Hancock released his own influential albums, notably “Maiden Voyage,” “Empyrean Isles” and “Speak Like a Child.” His logical but painterly compositions also found a chamberlike setting on “The Prisoner,” inspired by his work on a television cigarette commercial. “They wanted something that sounded like a Miles Davis-Gil Evans arrangement,” he said. “When I did the commercial, I loved that sound so much that for my next record, which ended up being ‘The Prisoner,’ I wanted to have that texture. And that led to the first group that I had when I left Miles’s band.”
Those who like a dash of nostalgia with their pop-inflected music have multiple choices. The Midtown Men, a foursome who were in the original cast of Broadway’s “Jersey Boys,” will mix 1960s rock ’n’ roll hits with seasonal tunes at Tilles Center for the Performing Arts, at LIU Post in Brookville, on Dec. 6.
A “girl-group” singer of the 1960s, Darlene Love, will offer both holiday standards and oldies at Landmark on Main Street, in Port Washington, on Dec. 8. This will be Ms. Love’s third holiday performance at Landmark, and it is sold out; there is a waiting list for tickets.
Another option at Landmark is Derrick Davis’s “A Christmas Journey,” coming up Dec. 2; the performer, an understudy in “The Lion King,” describes his holiday show, which includes dancers and a band, as a journey between “the secular and the sacred.”
The onetime Doobie Brother and multiple Grammy winner Michael McDonald, of the distinctive voice, performs at the Paramount in Huntington on Dec. 4, with his show “This Christmas, an Evening of Holiday and Hits.”
The Trans-Siberian Orchestra brings its rock opera, “The Lost Christmas Eve” — a pyrotechnic spectacle that draws from classical, folk, R & B and Broadway — to the Nassau Coliseum in Uniondale on Dec. 20. The current tour of this work is billed as the last.
The Staller Center for the Arts, at Stony Brook University, is celebrating both the holidays and the 25th anniversary of its naming (after its major benefactors) with a concert on Dec. 15 by Wynton Marsalis and the Jazz at Lincoln Center Orchestra, along with Cécile McLorin Salvant, the 2010 winner of the Thelonius Monk International Jazz Vocals Competition. A limited number of seats were available at press time.
Those dreaming of a crooning Christmas may find themselves reminiscing about Bing Crosby specials in “A Crosby Christmas,” at the Madison Theater at Molloy College in Rockville Centre, on Dec. 21. Hosted by Mr. Crosby’s widow, Kathryn, the show will feature Donna McKechnie (“A Chorus Line”) and other Broadway performers. (Toys brought by audience members will be put under the onstage tree; their destination is the Bethany House for homeless women and children in Nassau County.)
The Long Island Philharmonic offers a true musical mix, from Tchaikovsky (“Nutcracker” selections) to Irving Berlin, in its “Holiday Spectacular” on Dec. 1 at the Butler Building of the Mitchel Athletic Complex in Uniondale. The event is free, but tickets are required.
Another mix of musical-theater showstoppers and holiday favorites is in “Christmas on Broadway,” a revue with four singer-dancers at the Art Deco-era Suffolk Theater in Riverhead on Dec. 14 and 15.
Christmas comes with an Irish lilt when Eileen Ivers, a virtuoso of Celtic fiddling, brings “An Nollaig — An Irish Christmas” to the YMCA Boulton Center for the Performing Arts in Bay Shore on Dec. 13. (The show is sold out, but there is a waiting list.) And it is gospel-inflected when members of the Bethel Concert Choir join the opening celebration in Westbury House at Old Westbury Gardens on the evening of Dec. 7 (tree lighting included). That concert is also sold out, but various other groups perform at Old Westbury on December weekends. And the Bethel choir will give free daytime performances on Dec. 7 at Roosevelt Field (main level court) and the Broadway Mall (center court) in Hicksville.
At the NYCB Theater at Westbury, the country music star Trace Adkins will be storytelling and caroling on Dec. 1; Kenny Rogers will perform his classic hits and holiday favorites on Dec. 4; and Paul Anka will sing his “Songs of December” and old hits (remember “Diana” and “Lonely Boy”?) on Dec. 7.
If Christmas is not Christmas without a full rendition of Handel’s “Messiah,” you can join the free Messiah Sing-Along at the Staller Center for the Arts at Stony Brook University on Dec. 8, or head to a performance by the venerable Cecilia Chorus of New York, making its Long Island debut, with orchestra, at Tilles Center on Dec. 15. The chorus of about 150 will be joined by the LIU Post Chorus, making for some 200 singers.
In another campus setting, the John Cranford Adams Playhouse at Hofstra University, the Hofstra University Choir and Hofstra String Orchestra will include seasonal songs in a Dec. 10 performance.
There is other choral music around, too. The Choral Society of the Hamptons, for example, will emphasize the theme of peace in two concerts, titled “In Terra Pax” (in tandem with the South Fork Chamber Orchestra), at the Bridgehampton Presbyterian Church on Dec. 8. The all-British program includes the concert’s titular work, by the 20th-century composer Gerald Finzi.
The Cathedral of the Incarnation in Garden City, seat of the Episcopal Diocese of Long Island, includes its full cathedral choirs, totaling 55 men, women and children, in its Festival of Lessons and Carols on Dec. 15. Accompanied by what is billed as the largest pipe organ on Long Island, they will sing carols from the 16th century to the present.
And two pastiche works whose music is drawn from classical composers — a “Mass of the Composers” and the last act of an opera, “The Nativity” — both created by Bernard Kennedy, a Long Island resident, will be presented at the Madison Theater at Molloy College on Dec. 7.
Hanukkah came early this year, but some groups are celebrating it in their repertoire. Among them are the Adelphi Chorus and Adelphi Vocal Ensemble, which will offer two versions of “Maoz Tzur” (the original melody is widely known as “Rock of Ages”), as well as another Hanukkah tune, in a holiday celebration at Adelphi University, in Garden City, on Dec. 8; the internationally flavored concert also features festive music by the English composer Benjamin Britten and Christmas tunes from around the world.
And the instrument-free vocal group Rockapella gives a nod to Kwanzaa with the song “Matunda Ya Kwanzaa,” as part of its program at the Boulton Center on Dec. 14.
For those shepherding young children through the season, the holiday concert of the Laurie Berkner Band, with its peppy folk-pop that keeps youngsters enthralled, might be good news; the group plays at Tilles Center on Dec. 1.
What has to be among the most unusual locations for seasonal music is Bay Burger, a self-described burger joint in Sag Harbor, where the drummer and M.C. Claes Brondal will host musician-guests and then lead a free, jazz-oriented holiday jam session on Dec. 12; musicians, bring your portable instruments and holiday spirit.
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Where to Listen
BAY SHORE YMCA Boulton Center for the Performing Arts, 37 West Main Street; (631) 969-1101 or boultoncenter.org.
BRIDGEHAMPTON Choral Society of the Hamptons, at the Bridgehampton Presbyterian Church, 2429 Montauk Highway; (631) 204-9402 or choralsocietyofthehamptons.org.
BROOKVILLE Tilles Center for the Performing Arts, LIU Post Campus, 720 Northern Boulevard; (516) 299-3100 or tillescenter.org.
GARDEN CITY Cathedral of the Incarnation, 50 Cathedral Avenue; (516) 746-2955 or incarnationgc.org.
GARDEN CITY Adelphi University Performing Arts Center, 1 South Avenue; (516) 877-4000 or aupac.adelphi.edu.
HEMPSTEAD John Cranford Adams Playhouse, South Campus of Hofstra University, Hempstead Turnpike. Tickets: (516) 463-6644, and sold at the door.
HUNTINGTON The Paramount, 370 New York Avenue; paramountny.com or (800) 745-3000.
OLD WESTBURY Old Westbury Gardens, 71 Old Westbury Road; (516) 333-0048 or oldwestburygardens.org.
PORT WASHINGTON Landmark on Main Street, 232 Main Street; landmarkonmainstreet.org or (516) 767-6444. For Derrick Davis show: (866) 811-4111 or therealderrickdavis.com.
RIVERHEAD The Suffolk Theater, 118 East Main Street; (631) 727-4343, ext. 101, or suffolktheater.com.
ROCKVILLE CENTRE Madison Theatre at Molloy College, 1000 Hempstead Avenue; (516) 323-4444 or madisontheatreny.org.
SAG HARBOR Bay Burger, 1742 Bridgehampton Sag Harbor Turnpike. Claes Brondal: (347) 303-3206 or thejamsession.org.
STONY BROOK Staller Center for the Arts, Nicholls Road, Main Entrance/West Campus; stallercenter.com or (631) 632-2787.
UNIONDALE Nassau Veterans Memorial Coliseum, 1255 Hempstead Turnpike. Tickets: (800) 745-3000, at the box office or at ticketmaster.com.
UNIONDALE Long Island Philharmonic at Butler Building, Mitchel Athletic Complex, Charles Lindbergh Boulevard. For ticket availability: nassaucountyny.gov/parks or (516) 572-0200.
WESTBURY NYCB Theater at Westbury, 960 Brush Hollow Road. Tickets: (800) 745-3000 or livenation.com. Information: thetheatreatwestbury.com.
His death was announced on his website.
Mr. Lateef started out as a tenor saxophonist with a big tone and a bluesy style, not significantly more or less talented than numerous other saxophonists in the crowded jazz scene of the 1940s. He served a conventional jazz apprenticeship, working in the bands of Lucky Millinder, Dizzy Gillespie and others. But by the time he made his first records as a leader, in 1957, he had begun establishing a reputation as a decidedly unconventional musician.
He began expanding his instrumental palette by doubling on flute, by no means a common jazz instrument in those years. He later added oboe, bassoon and non-Western wind instruments like the shehnai and arghul. “My attempts to experiment with new instruments grew out of the monotony of hearing the same old sounds played by the same old horns,” he once told DownBeat magazine. “When I looked into those other cultures, I found that good instruments existed there.”
Those experiments led to an embrace of new influences. At a time when jazz musicians in the United States rarely sought inspiration any farther geographically than Latin America, Mr. Lateef looked well beyond the Western Hemisphere. Anticipating the cross-cultural fusions of later decades, he flavored his music with scales, drones and percussion effects borrowed from Asia and the Middle East. He played world music before world music had a name.
In later years he incorporated elements of contemporary concert music and composed symphonic and chamber works. African influences became more noticeable in his music when he spent four years studying and teaching in Nigeria in the early 1980s.
Mr. Lateef professed to find the word “jazz” limiting and degrading; he preferred “autophysiopsychic music,” a term he invented. He further distanced himself from the jazz mainstream in 1980 when he declared that he would no longer perform any place where alcohol was served. “Too much blood, sweat and tears have been spilled creating this music to play it where people are smoking, drinking and talking,” he explained to The Boston Globe in 1999.
Still, with its emphasis on melodic improvisation and rhythmic immediacy, his music was always recognizably jazz at its core. And as far afield as his music might roam, his repertoire usually included at least a few Tin Pan Alley standards and, especially, plenty of blues.
He was born on Oct. 9, 1920, in Chattanooga, Tenn. Many sources give his birth name as William Evans, the name under which he performed and recorded before converting to Islam in the late 1940s (he belonged to the reformist Ahmadiyya Muslim Community) and changing his name to Yusef Abdul Lateef. But according to Mr. Lateef’s website, he was born William Emanuel Huddleston.
When he was 5 his family moved to Detroit, where he went on to study saxophone at Miller High School. After spending most of the 1940s on the road as a sideman with various big bands, he returned to Detroit in 1950 to care for his ailing wife and ended up staying for a decade.
While in Detroit he became a popular and respected fixture on the local nightclub scene and a mentor to younger musicians. He also resumed his studies, taking courses in flute and composition at Wayne State University and later studying oboe as well.
In the later part of the decade he began traveling regularly from Detroit to the East Coast with his working band to record for the Savoy and Prestige labels. By 1960 he had settled in New York, where he worked with Charles Mingus, Cannonball Adderley and the Nigerian percussionist Babatunde Olatunji before forming his own quartet in 1964.
He was soon a bona fide jazz star, with successful albums on the Impulse and Atlantic labels and a busy touring schedule. But he also remained a student, and he eventually became a teacher as well.
He received a bachelor’s and a master’s degree from the Manhattan School of Music, and taught both there and at Borough of Manhattan Community College in the 1970s. He earned a doctorate in education from the University of Massachusetts, Amherst, in 1975 (his dissertation: “An Overview of Western and Islamic Education”) and later taught there and elsewhere in New England.
The more he studied, the more ambitious Mr. Lateef grew as a composer. He recorded his seven-movement “Symphonic Blues Suite” in 1970 and his “African-American Epic Suite,” a four-part work for quintet and orchestra, two decades later. His album “Yusef Lateef’s Little Symphony,” on which he played all the instruments via overdubbing, won a Grammy Award in 1988, though not in any of the jazz or classical categories; it was named best New Age performance. Mr. Lateef said at the time that, while he was grateful for the award, he didn’t know what New Age music was.
In 2010 he was named a Jazz Master by the National Endowment for the Arts.
Mr. Lateef is survived by his wife, Ayesha; a son, Yusef; a granddaughter; and several great-grandchildren. His first wife, Tahira, died before him, as did a son and a daughter.
His creative output was not limited to music. He painted, wrote poetry and published several books of fiction. He also ran his own record company, YAL, which he established in 1992.
He remained musically active until a few months before his death. In April he appeared at Roulette in Brooklyn in a program titled “Yusef Lateef: Celebrating 75 Years of Music,” performing with the percussionist Adam Rudolph and presenting the premieres of two works, one for string quartet and the other for piano.
Full reviews of recent jazz performances: nytimes.com/jazz.A searchable guide to these and other shows is at nytimes.com/events.
Eric Alexander Sextet (Friday through Wednesday) For his part in “Countdown: A John Coltrane Festival,” presented for the third year at Smoke, Eric Alexander, a neatly pressed but rigorous tenor saxophonist, teams up as usual with Harold Mabern, a veteran pianist. His top-shelf band also features Jeremy Pelt on trumpet, Vincent Herring on alto saxophone, John Webber on bass and Joe Farnsworth on drums. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, (212) 864-6662, smokejazz.com; $45 cover; $95 to $245 on New Year’s Eve, which includes dinner and drinks. (Nate Chinen)
Peter and Will Anderson (through Dec. 29) The upstanding young torchbearers Peter and Will Anderson — also saxophonists, clarinetists, Juilliard alumni and identical twins — present a show called “Le Jazz Hot: How the French Saved Jazz.” The engagement, running through much of this month, will feature a quintet inspired by the music of Django Reinhardt, Sidney Bechet and others. Tuesdays through Thursdays at 7:30 p.m., Fridays at 8:30 p.m., Saturdays at 5:30 and 8:30 p.m., Sundays at 3:30 and 7:30 p.m., 59E59 Theaters, 59 East 59th Street, Manhattan, (212) 753-5959, 59e59.org; $35, $24.50 for members. (Chinen)
★ The Bad Plus (Tuesday through Jan. 5) Few groups in the greater jazz orbit sound more doggedly intrepid than the Bad Plus — Reid Anderson on bass, Ethan Iverson on piano, David King on drums — and few have done more to bring robust improvisational practice to audiences well outside that orbit. Somehow it seems only fitting that the band starts this weeklong run on New Year’s Eve. Tuesday at 9:30 and 11:30 p.m., Wednesday through Jan. 5 at 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 and $30 cover, with a one-drink minimum; $150 on New Year’s Eve, which includes both sets and a $25 drink credit, with finger food and party favors. (Chinen)
Roni Ben-Hur and the New York-Brazil Connection (Tuesday) Mr. Ben-Hur, a guitarist fluent in both modern jazz and various forms of Brazilian music, leads a group that features his wife and frequent collaborator, the singer Amy London. This New Year’s Eve show will also feature the vocalist Maucha Adnet, the pianist Helio Alves, the bassist Santi Debriano and the drummer Duduka Da Fonseca. From 9 p.m. to 1 a.m., Jazz at Kitano, 66 Park Avenue, at 38th Street, (212) 885-7119, kitano.com; $115 cover, with a $25 minimum. (Chinen)
Chris Botti (Friday through Jan. 5) Mr. Botti, whose adult-pop savvy and controlled but brooding trumpet sound have made him a high-gloss global superstar, descends on the Blue Note each year around this time for an extended run. As usual he has a slick but substantial band, and the clout to call on the occasional unbilled celebrity guest. At 8 and 10:30 p.m.; New Year’s Eve at 7 and 10 p.m., Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592, bluenote.net; $75 cover at tables, $40 at the bar, with a $5 minimum; on New Year’s Eve: $145 at tables, $85 at the bar for the 7 p.m. set and $175 at tables and $95 at the bar for the 10 p.m. set. (Chinen)
★ Henry Butler, Steve Bernstein & the Hot 9 (Tuesday through Jan. 5) Mr. Butler, a New Orleans pianist with a knack for percussive prestidigitation, teams up with the trumpeter-arranger Steven Bernstein and a crack ensemble that includes Charlie Burnham on violin, Curtis Fowlkes on trombone and Erik Lawrence on baritone and soprano saxophones. At 7:30 and 9:30 p.m., with an 11:30 set next Friday and Jan. 4; New Year’s Eve at 7:30 and 10:30 p.m., Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $30 and $35; on New Year’s Eve, $125 for the first set, which includes dinner, and $195 for the second set, which includes dinner and a Champagne toast. (Chinen)
Ed Cherry Trio (Tuesday) On the off chance that you’re still at a loss for New Year’s Eve plans, the guitarist Ed Cherry leads a trio here with Pat Bianchi on organ and Chris Beck on drums. Besides the music, in one of the city’s most intimate jazz rooms, your admission will cover a five-course meal and Champagne toast. At 8:15 and 11 p.m., Bar Next Door, 129 Macdougal Street, near West Third Street, Greenwich Village, (212) 529-5945, lalanternacaffe.com; $70, which includes dinner and a Champagne toast. (Chinen)
Carmen Lundy (Friday through Sunday) Ms. Lundy, a soulful and assertive singer, draws from “Changes,” her most recent album, with a polished touring band: John Beasley on piano, Kenny Davis on bass and Jamison Ross on drums. At 7:30 and 9:30 p.m., with 11:30 p.m. sets Friday and Saturday, Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $25 and $30. (Chinen)
★ Wynton Marsalis Septet (Friday through Tuesday) Every now and again the artistic director of Jazz at Lincoln Center steps into the center spotlight as a composer-bandleader, reminding everyone why he became such a force in the first place. Taking over the organization’s in-house club, Wynton Marsalis regroups the ensemble with which he has made some of his finest albums, like “The Marciac Suite,” from 2000. It’s a special booking, with a special price structure: $125 per person includes $35 cover and a tax-deductible contribution of $90 (except of course on New Year’s Eve, when you’ll drop a cool $375 for the 7:30 p.m. set and $550 for the 11 p.m. set). At 7 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org. (Chinen)
Open Loose (Saturday) Mark Helias is a bassist equally committed to the causes of momentum and texture, and in that sense he has a very good thing in Open Loose, a band with Tony Malaby on tenor saxophone and Tom Rainey on drums. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, corneliastreetcafe.com, (212) 989-9319; $10 cover, with $10 minimum. (Chinen)
Tom Rainey Trio (Monday) Tom Rainey, a drummer of far-ranging experience, has broken into bandleading in recent years, often with the two partners in this trio: Ingrid Laubrock, a tenor and soprano saxophonist of exploratory instincts, and Mary Halvorson, a guitarist with a sharp-splintered but flexible attack. At 8:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, (212) 989-9319, corneliastreetcafe.com; $10 cover, with $10 minimum. (Chinen)
Dan Weiss Percussion Fest (Thursday through Jan. 4) Dan Weiss is a drummer of adaptable flow and microscopic focus, as he has shown in a range of settings. He has programmed three nights of percussive expedition, beginning on Thursday with this well-honed duo featuring the guitarist Miles Okazaki. At 8:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, (212) 989-9319, corneliastreetcafe.com; $10 cover, with a $10 minimum. (Chinen)
★ Kenny Werner Quintet (Thursday through Jan. 5) A well-seasoned pianist who tempers fearsome technique with abundant wit, Kenny Werner digs in here not only with a fierce rhythm section — Scott Colley on bass, Ari Hoenig on drums — but also with a front line consisting of the trumpeter Randy Brecker and the saxophonist David Sánchez. At 7:30 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; $35 to $45 cover, with a $5 minimum; $20 and $25 for students. (Chinen)
Dr. Michael White and the Original Liberty Jazz Band (Friday through Sunday) The New Orleans clarinetist and cultural historian Dr. Michael White views a traditional repertory as something rich to be savored, as he demonstrates on “Adventures in New Orleans Jazz,” released in two volumes over the last couple of years. His signature band returns to its customary late-December residency at the Village Vanguard, though it has ceded New Year’s Eve to the Bad Plus, a more contemporary crew. At 8:30 and 10:30 p.m., 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 and $30 cover, with a $10 minimum. (Chinen)
★ John Zorn Improv Night (Friday through Sunday) Noise is the currency at a John Zorn improv party, which can feature any number of intrepid and open-minded musicians. Among the participants: the multireedists Marty Ehrlich and Chris Speed; the guitarists Thurston Moore and Mary Halvorson; and the percussionists Adam Rudolph and Billy Martin. At 8 p.m., the Stone, Avenue C and Second Street, East Village, thestonenyc.com; $25. (Chinen)
JON PARELES
NINE INCH NAILS Barclays Center, Oct. 14. Trent Reznor’s restarted Nine Inch Nails could have pleased fans by just blasting out the hits. But he also wanted to plunge into the antsy electronics, dance-music undercurrents and levels of self-doubt on Nine Inch Nails’ 2013 album, “Hesitation Marks.” And he did, with human factors (including female voices) and a 3-D video onslaught surrounding the musicians. It was the year’s most overwhelming arena spectacle.
BEYONCé Izod Center, East Rutherford, N.J., July 31. Lavish, perfectionistic and full of soulful singing amid its frantic choreography, Beyoncé's “The Mrs. Carter Show” tour still had a warm heart. It wasn’t about admiring the superhuman diva onstage; it was about how she would be a poised cheerleader for all the grown-up, independent, imperfect Everywomen listening and singing along.
MY BLOODY VALENTINE Hammerstein Ballroom, Nov. 12. Touring after the release of “m b v,” its first album since 1991, My Bloody Valentine calmly pulverized every band that puts “shoegaze” in its online profile. The music sounded louder than it was because distortion blanketed the frequency spectrum, and the pitch kept heaving and sliding, a tempest of instability above a relentless beat. Video completed a gorgeous overload.
CARLINHOS BROWN Campo Grande, Salvador, Bahia, Brazil, Feb. 10. This was sociopolitical. Carlinhos Brown, a hit songwriter who is also an advocate of Afro-Brazilian culture, gathered nearly all of the blocos Afros — percussion groups that double as neighborhood improvement associations in Salvador, the capital of Bahia — to parade together in support of building an Afródromo, a new and media-friendly carnival circuit. Some 15,000 costumed drummers and dancers took to the streets, booming a message to the government.
ANNETTE PEACOCK Whitney Museum of American Art, April 26. At her first New York City show in more than a decade, the jazz songwriter, singer and keyboardist Annette Peacock took her time delivering her cerebral, quizzical songs about love and longing. They’re full of odd melodic leaps with sultry follow-ups, and of harmonies that take chromatic detours and don’t always neatly resolve. She lingered over the songs as if she were thinking through every verbal and musical convolution on the spot.
MILFORD GRAVES Vision Festival, Roulette, June 12. This year’s festival started with a tribute to the drummer Milford Graves, at 72, that worked him hard. He played three sets with three groups to sum up his career: from his start in Afro-Cuban jazz to poetry with jazz (with Amiri Baraka) and full-tilt group improvisation. Mr. Graves pushed and reacted to the music with playful precision, creating momentum and counterpoint while dismantling patterns before they began.
Ruby Washington/The New York Times
CHRISTINE SALEM Symphony Space, Oct 4. Christine Salem is a champion of maloya, traditional music from Réunion, a French island in the Indian Ocean. Using voices and percussion, brisk rhythms and chanted melodies that can sound like relatives of the blues, maloya can be trance music to communicate with ancestors or a danceable message of survival. Ms. Salem’s deep, gutsy voice made it both of those, and more.
BLACK DICE Grand Prospect Hall, Brooklyn, May 25. With a savage, sardonic 37-minute set, Black Dice sabotaged the 1980s punk-disco-electro nostalgia sharing the extensive lineup of the Red Bull Music Academy’s “12 Years of DFA Records.” The group had its own loops — nasty, distorted, abrasive, funny — and changed them up too often for anyone to get comfortable. It was dance music with an obnoxious streak: real punk-disco.
GHALIA BENALI World Nomads Tunisia festival, French Institute/Alliance Française, May 15. The singer and songwriter Ghalia Benali was part of this illuminating festival. Her songs were rhapsodic, self-invented myths of romance and otherness, rooted in the earthy melodies of Middle Eastern folk music but connected all around the Mediterranean and beyond; her band had musicians who also play jazz. Passionate and cosmopolitan, personal and sometimes abstract, it was a global fusion that didn’t start from a Western perspective.
KANYE WEST Governors Ball, Randalls Island, June 9. Before he released “Yeezus,” Kanye West brought that album’s knockdown bluntness and contrary mentality to a nonstage stage show. For most of it, Mr. West was on a platform in the audience, shouting his rhymes with visceral, sweaty insistence. It was a perfectly orchestrated tantrum — far better paced than the messianic filibuster he brought to arenas in the fall.
BEN RATLIFF
EYEHATEGOD Saint Vitus, Nov. 14. This 25-year-old New Orleans slow-metal band lost its founding-member drummer, Joey LaCaze, to respiratory failure on Aug. 23. By late October, it was on the road again. Two weeks later, with the new drummer Aaron Hill, it played a stunning set of many songs that seemed to coalesce into one long one — a kind of dense, zoned-out hymn — with few chords but many diversions and doglegs, tempo and accent shifts, moments of sudden power.
KIM GORDON WITH I.U.D. Issue Project Room, Nov. 14. Ms. Gordon, once of Sonic Youth and now of Body/Head, collaborated on guitar for one performance with the New York two-percussionist band I.U.D. — decentralized but coherent, chaotic but powerful, confident and hard to parse.
Harry Allen Quartet (Friday) Ebullient swing is always a priority for the tenor saxophonist Harry Allen, who displays a breezy familiarity with midcentury modern conventions. His quartet includes the pianist Rossano Sportiello, the bassist Joel Forbes and the drummer Kevin Kanner. At 8 and 10 p.m., Jazz at Kitano, 66 Park Avenue, at 38th Street, (212) 885-7119, kitano.com; $30 cover, with a $15 minimum. (Nate Chinen)
Wessell Anderson Sextet (Monday and Tuesday) Wessell Anderson, colloquially known as Warmdaddy, is an alto saxophonist with a tart sound and a bluesy, charismatic style. A charter member of the Jazz at Lincoln Center Orchestra, he’s back on friendly turf with this sextet. At 7:30 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; $35 cover, with a $5 minimum; $15 for students. (Chinen)
★ The Bad Plus (Friday through Sunday) Few groups in the greater jazz orbit sound more doggedly intrepid than the Bad Plus — Reid Anderson on bass, Ethan Iverson on piano, David King on drums — and few have done more to bring robust improvisational practice to audiences well outside that orbit. At 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 and $30 cover, with a one-drink minimum. (Chinen)
Chris Botti (Friday through Sunday) Mr. Botti, whose adult-pop savvy and controlled but brooding trumpet sound have made him a high-gloss global superstar, descends on the Blue Note each year around this time for an extended run. As usual he has a slick but substantial band, and the clout to call on the occasional unbilled celebrity guest. At 8 and 10:30 p.m., Blue Note, 131 West Third Street, Greenwich Village, (212) 475-8592, bluenote.net; $75 cover at tables, $40 at the bar, with a $5 minimum. (Chinen)
★ Henry Butler, Steve Bernstein & the Hot 9 (Friday through Sunday) Mr. Butler, a New Orleans pianist with a knack for percussive prestidigitation, teams up with the trumpeter-arranger Steven Bernstein and a crack ensemble that includes Charlie Burnham on violin, Curtis Fowlkes on trombone and Erik Lawrence on baritone and soprano saxophones. At 7:30 and 9:30 p.m., with an 11:30 set on Friday and Saturday, Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $30 and $35. (Chinen)
★ Kris Davis’s Infrasound (Monday) Ms. Davis, one of the more reliably compelling pianists to emerge within the last decade, has proved her salt as a large-ensemble arranger, notably on “Novela,” a recent album by the saxophonist Tony Malaby. With Infrasound, which has its premiere here, she enlists four bass clarinetists (Joachim Badenhorst, Andrew Bishop, Ben Goldberg and Oscar Noriega) alongside a rhythm section that includes the guitarist Nate Radley, the accordionist and organist Gary Versace, and the drummer Jim Black. At 8 p.m., Roulette, 509 Atlantic Avenue, near Third Avenue, Boerum Hill, Brooklyn, (917) 267-0363, roulette.org; $20, $15 for students. (Chinen)
Wayne Escoffery Quartet (Saturday and Sunday) Wayne Escoffery, a tenor saxophonist with an engaging and assertive style, closes this year’s edition of Countdown: A John Coltrane Festival with a band featuring David Kikoski on piano, Gerald Cannon on bass and Lewis Nash on drums. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, (212) 864-6662, smokejazz.com; $38 cover. (Chinen)
Amina Figarova Reunion Sextet (Thursday) The pianist-composer Amina Figarova, born in Azerbaijan and now a New Yorker after years in the Netherlands, enlists a strong roster of collaborators here: the trumpeter Freddie Hendrix, the alto saxophonist Jaleel Shaw, the tenor saxophonist Wayne Escoffery, the bassist Derek Nievergelt and the drummer Johnathan Blake. At 9 and 11 p.m., the Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, (646) 494-3625, jazzgallery.org; $15, $10 for members in the first set, $10, $5 for members in the second set. (Chinen)
★ Mary Halvorson Quartet (Saturday) Mary Halvorson, a guitarist fond of smart ungainliness and prickly fluency, recently delved into chamberlike ensemble territory with a vivid album titled “Illusionary Sea.” For this concert she leads a working quintet anchored by the bassist John Hébert and the drummer Ches Smith, and featuring a front line of Jonathan Finlayson on trumpet and Jon Irabagon on alto saxophone. At 9 p.m., BAMcafé, Brooklyn Academy of Music, 30 Lafayette Avenue, at Ashland Place, Fort Greene, (718) 636-4100, bam.org; free. (Chinen)
Frank Kimbrough Trio (Thursday) A daring and harmonically literate pianist, Frank Kimbrough extemporizes with equal concern for melody and abstraction. His partners for this concert, part of the Sound It Out series, are the bassist Masa Kamaguchi and the drummer Jeff Hirshfield, who appear on “Rumors,” a casually sumptuous album recorded on short notice several years ago. At 8 p.m., Greenwich House Music School, 46 Barrow Street, West Village, (212) 242-4770, greenwichhouse.org; $15, $12 for students. (Chinen)
★ Rudresh Mahanthappa at the Stone (Tuesday through Jan. 12) Mr. Mahanthappa, an alto saxophonist who has made a project of expressive cultural hybridism, will be in residence at the Stone next week, working three nights apiece with two distinctive bands. The first of those is his Bird Project, inspired by Charlie Parker but hardly bound by idiomatic fealty; its dynamic rhythmic foundation will be the work of Matt Mitchell on piano, François Moutin on bass and Rudy Royston on drums. At 8 and 10 p.m., the Stone, Avenue C and Second Street, East Village, thestonenyc.com; $15 per set; $10 for students. (Chinen)
Christian McBride Big Band (Tuesday through Jan. 12) This spit-and-polish outfit, which won a recent Grammy for best large jazz ensemble album, thrives on the robust energies of its namesake bassist-bandleader. It’ll be the first of two weeks with his name on the Village Vanguard marquee; the second, starting Jan. 14, will feature his effervescent trio. At 8:30 and 10:30 p.m., 178 Seventh Avenue South, at 11th Street, West Village, (212) 255-4037, villagevanguard.com; $25 to $30 cover, with a one-drink minimum. (Chinen)
On the Frontlines (Thursday) The title of this triple bill has as much to do with band dynamics as with battle metaphors: organized by the trumpeter John Raymond, it will feature three groups led by intrepid young horn players. Up first, at 7 p.m., is Sound Quartet, a project of the tenor saxophonist Tivon Pennicott; at 8:15 p.m., Mr. Raymond presents a quartet featuring Gilad Hekselman on guitar. And at 9:30 p.m. the trombonist Ryan Keberle augments his fine band Catharsis with a pair of guests, Camila Meza on vocals and Clarence Penn on drums. At ShapeShifter Lab, 18 Whitwell Place, Park Slope, Brooklyn, (646) 820-9452, shapeshifterlab.com; $15. (Chinen)
★ Kurt Rosenwinkel New Quartet (Wednesday through Jan. 12) The guitarist Kurt Rosenwinkel favors floating lyricism, a luminous tone and an ultramodern harmonic language, all reasons for his stature as one of the young gurus on his instrument. As on “Star of Jupiter,” his most recent album, he’ll lead an adaptable band featuring the pianist Aaron Parks and the bassist Eric Revis. (Kendrick Scott steps in for Justin Faulkner on drums.) At 7:30 and 9:30 p.m., with an 11:30 set next Friday and Jan. 11, Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; $25 and $30. (Chinen)
Marcus Strickland Quartet (Friday) As on the second disc of his most recent album, “Triumph of the Heavy,” the saxophonist Marcus Strickland pursues a streamlined take on postbop with a rhythm section of the pianist David Bryant; the bassist Ben Williams; and the drummer E.J. Strickland, Mr. Strickland’s twin brother. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, (212) 864-6662, smokejazz.com; $38 cover. (Chinen)
Dan Weiss Percussion Fest (Friday and Saturday) Dan Weiss is a drummer of adaptable flow and microscopic focus. He has programmed three nights of percussive expedition here, the second of which, on Friday, will feature Mr. Weiss on tabla with the Hindustani classical vocalist Samarth Nagarkar. On Saturday, veering more toward a jazz setting, Mr. Weiss will lead his fine trio with the pianist Jacob Sacks and the bassist Thomas Morgan. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, (212) 989-9319, corneliastreetcafe.com; $10 cover, with a $10 minimum. (Chinen)
★ Kenny Werner Quintet (Friday through Sunday) A well-seasoned pianist who tempers fearsome technique with abundant wit, Kenny Werner digs in here not only with a fierce rhythm section — Scott Colley on bass, Ari Hoenig on drums — but also with a front line consisting of the trumpeter Randy Brecker and the saxophonist David Sánchez. At 7:30 and 9:30 p.m., Dizzy’s Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 258-9595, jalc.org; $35 to $45 cover, with a $5 minimum; $20 and $25 for students. (Chinen)
Buster Williams’s Something More (Friday through Sunday) Mr. Williams’s deeply authoritative bass playing is the fulcrum but not necessarily the focus of Something More, his primary vehicle as a bandleader and composer since the early 1990s. At 8 and 10 p.m., Iridium Jazz Club, 1650 Broadway, at 51st Street, (212) 582-2121, theiridium.com; $27.50, with a $10 minimum. (Chinen)
Winter Jazzfest (Tuesday through Jan. 11) For its 10th anniversary, the Winter Jazzfest has augmented a customary two-night marathon, which will subsume a cluster of spaces in Greenwich Village next Friday and Saturday. This year’s kickoff, on Tuesday at Le Poisson Rouge, will be “Terminals,” a new-music piece by the drummer Bobby Previte, featuring So Percussion, the keyboardist John Medeski and the guitarist Nels Cline. Then on Wednesday, Blue Note Records will present its own 75th anniversary concert at Town Hall, with two of its artists, Jason Moran and Robert Glasper, playing acoustic and Fender Rhodes pianos alongside the saxophonist Ravi Coltrane, the soul crooner Bilal and others. The Thursday offering, made in partnership with SummerStage and the Charlie Parker Jazz Fest, will involve the Revive Big Band, the Wallace Roney Orchestra and the organist Dr. Lonnie Smith. (A full schedule is at winterjazzfest.com.) Tuesday at 8 p.m., Thursday at 7 p.m., Le Poisson Rouge, 158 Bleecker Street, near Thompson Street, Greenwich Village, (212) 505-3474, lepoissonrouge.com; $10 on Tuesday; $15 in advance, $18 day of show on Thursday. Wednesday at 8 p.m., Town Hall, 123 West 43rd Street, Manhattan, (800) 982-2787, the-townhall-nyc.org; $27 to $47. (Chinen)
“Dave has played on six continents,” his manager, Richie Bonilla, said proudly. “He is alone in his class.”
Now, he is mostly alone in his home. A stroke during a gig in March 2012 left him paralyzed on his right side, unable to walk, talk or lift his playing hand. Though he has recovered about 85 percent of his abilities, several fingers on his right hand are numb, and he cannot hold up his flute for long. Instead, he spends his days in a rented bungalow in Harding Park, a warren of twisty streets along the East River in the Bronx.
He moved to this neighborhood because it was quiet and secluded, a haven for a world-traveling musician with more than a dozen albums and a Grammy to his name. He shares the home with his cats, Mambo, Bomba and Plena — “good cats, they leave my stuff alone” — and his instruments. He was a familiar sight in the neighborhood, buying a breakfast sandwich at a bodega each morning, then heading home to watch the news and practice.
But for someone recovering from a catastrophic illness, and with no savings or health insurance, living in his dimly lighted bungalow is like being in exile from fans, friends and the rhythms of everyday life.
Some days are good. Some days are not.
“How do I manage?” Mr. Valentin, 61, responded when he was asked how he was coping. “I have to. I can’t play. It’s rough. There’s a lot of depression and stuff like that. Sometimes I pick up my flute and play a few notes. I tried to play ‘Blackbird’ not that long ago. I couldn’t even talk at first. At least now I can.”
He shifted on the sofa.
“People come to visit, but it can be hard,” he said.
His manager chimed in.
“There’s too much alone time,” Mr. Bonilla said. “He needs a home attendant. I arranged to get him Meals on Wheels because all he was eating were sandwiches. Maybe somebody can send over a paella from City Island.”
Cigar smoke and silence hung in the living room. The silence was unusual for Mr. Valentin, who loved joking around so much that his manager said he could have been a stand-up comic.
“No, I would be a teacher,” Mr. Valentin corrected him. “I taught seventh-, eighth- and ninth-grade music for three years in the South Bronx. I had a jazz band and taught them how to play, so when they graduated they were ready. Those were good times.”
Mr. Bonilla changed the topic, reminding his friend of the latest batch of handwritten thank-you notes he was sending out. Donations, some handled by the Jazz Foundation of America, have come from the famous and the unknown, some as little as $5. Each is acknowledged by Mr. Bonilla, since Mr. Valentin cannot write.
Mr. Bonilla has helped his friend and client with everything from fund-raising benefits to applications for subsidized housing and social services. Although the most recent benefit concert included stars like Paquito D’Rivera, it cost more to stage than it raised. An earlier donation of $10,000, from the Puerto Rican city of Mayagüez, which also honored Mr. Valentin with the key to the city, helped prevent further financial calamity.
Mr. Bonilla, who manages many of the top Latin musicians, lamented how Mr. Valentin was like other artists of his generation, not counting on, much less planning for, retirement or illness. After a career that would be envied by many, Mr. Valentin must now find cheaper housing — something priced at roughly a third of the $1,800 he now pays in monthly rent and utilities.
What little money he has will run out by March.
“It’s been a struggle to keep up with the bills,” said Mr. Bonilla, who is still waiting to hear about a recent application for housing for older adults. “We don’t know when he will be back onstage.”
Although Mr. Valentin has been widely recorded, jazz royalties are hardly the foundation of a retirement plan. The money, such as it was, had always been in playing onstage.
“He was always busy,” Mr. Bonilla said. “He was going to Indonesia, Australia —”
Mr. Valentin cut him off.
“That’s over,” he said. “Over! Now it’s just starting again from scratch.”
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Lexey Swall for The New York Times
WASHINGTON â Max Roach, the great drummer and bandleader and paradigm-shifter of jazz, though he disliked that word, never finished an autobiography.
Thatâs a shame. He died in 2007 at 83, and his career spans the beginning of bebop, the intersection of jazz with the civil rights movement, free improvisation, and jazzâs current state of cross-disciplinary experiments and multimedia performances. Inasmuch as jazz is about change and resistance, he embodied those qualities: He fought anything that would contain or reduce him as an artist and a human being. He would have been well served by his own narrative, set in one voice.
But Roach was archivally minded, and, when he died, he left 400 linear feet of his life and actions to be read: scores and lead sheets, photographs, contracts, itineraries, correspondence, reel tapes and cassettes and drafts of an unfinished autobiography, written with the help of Amiri Baraka. On Monday, the Library of Congress will announce that it has acquired the archive from Mr. Roachâs family and that it will be made available to researchers.
âWhat I think he would hope people would see,â said the violist Maxine Roach, his daughter from his first marriage, âis that there was a lot about his life that was difficult, you know? The struggles. A lot about economics, and jazz as a word that we didnât define ourselves.â (Roach felt that it was a pejorative term; he preferred to call it African-American music.)
âBut aside from all of that,â she continued, âI hope that people see his excellence and his mastery of his skill, which helped him rise in this country thatâs been so hard on black men especially, and how he went through it and what price he paid.â
I went through some of the archive last week in advance of its public unveiling â only a little, but enough to know that it contains the material for understanding how Roach saw himself and how those close to him saw him. We donât have all the answers yet, but perhaps we can start asking the question, what needs to be better understood about Max Roach?
How he constructed his style, which brought together the wholeness of the drum kit rather than any specific part of it, let you hear tuning and touch, and expanded the notion of the drum solo as a truly narrative art might be the hardest one to address. (Perhaps the Roach-Baraka manuscript will help.)
What might be more easily understood is the nature of his friendships and correspondences with figures including Maya Angelou and Nina Simone, and his passions and causes, from the anti-apartheid movement in South Africa to the obscure Philadelphia pianist Hassan Ibn Ali, with whom he made a fascinating record for Atlantic in 1964. (Thereâs an hourlong tape in the collection of Ali playing solo piano in Roachâs apartment, some of which I heard, and several letters from him.) There is also a one-sentence telegram that Roach sent to Gov. Nelson Rockefeller after the Attica uprising in 1971: âDoes your belief that prisoners are not human justify the loss of 42 lives?â
There is even some material â a radio jingle, an advertisement mock-up â on Afro Kola, a short-lived soft drink in which Roach was an investor; his son, the actor Daryl Roach, who worked for the company in the summer of 1968, recalled that it was quickly bought by Coca-Cola and then vanished.
Roach was a natural figurehead: He had an instinct to lead, to politicize, to ask uncomfortable questions of politicians and club owners and journalists; to run an independent record label pretty much before musicians did that kind of thing (Debut, owned and operated with Charles Mingus from 1952 to 1957); and to collaborate with playwrights and visual artists.
He stressed that jazz functioned within a larger picture of African-American expression and a history of survival. âBeyond his music,â Daryl Roach said, âI think Dad grew to understand that things donât happen in a vacuum â they happen out of a sociopolitical and economic context.â
He had his own economic context, of course, and the collection contains plenty of documents of business transactions related to club dates and recordings; there are contracts and papers from his time with the Clifford Brown-Max Roach Quintet in the mid-1950s, for example. Brown died in a car accident in 1956; the archives tell you, among other things, what the ensemble was being paid in the months leading up to the end, when they might have been the greatest jazz group in America: $500 for two nights at Basin Street, in the East 40s in Manhattan, that year; $900 for six days at the Cafe Bohemia in Greenwich Village; $203 for Roach, and $150.76 for each sideman, for one night at the Apollo Theater in Harlem. Such details might seem inconsequential, but theyâre important: They help us reconstruct exactly when and where the group played and how its work was valued.
There are fascinating letters from Mingus to Roach after the dissolution of Debut Records: This was a close and complicated relationship. In one written in February 1961, Mingus commends Roach for his wariness of the British-born jazz patroness Nica de Koenigswarter; emotionally and incredulously, he reports of her stated disdain for Patrice Lumumba, the leader of the Congolese independence movement, who had been recently killed.
Another letter dated three days later angrily asks Roach for $1,230 owed him. He compares him to Miles Davis, summing them up the same way: âdress right, pose right, and appear cold.â Above his signature, he wrote âHate.â Three months later, Roach interrupted a Davis concert at Carnegie Hall, a benefit for the African Research Foundation, whose politics he questioned; he picketed outside and eventually climbed onstage with a sign reading âAfrica for the Africans.â The collection contains photos of all that, too.
Admiration, invective, scrutiny â the sense you get is of a man determined enough to take it all.
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Full reviews of recent jazz performances: nytimes.com/jazz.A searchable guide to these and other shows is at nytimes.com/events.
â John Abercrombie Quartet (Friday through Sunday) The guitarist John Abercrombie takes a measured, self-possessed approach to improvisation, so much so that itâs easy to underestimate the considerable chance taking in his playing. He appears here with the same sterling rhythm team as on â39 Steps,â his fine album from last year: Marc Copland on piano, Drew Gress on bass and Joey Baron on drums. At 7:30 and 9:30 p.m., with an 11:30 set on Friday and Saturday, Jazz Standard, 116 East 27th Street, Manhattan, 212-576-2232, jazzstandard.net; $25 and $30 cover. (Nate Chinen)
Howard Alden-Warren Vaché Duo (Thursday) Mr. Alden, a nimble guitarist, has made a subspecialty out of duo interplay, as has Mr. Vaché, an assertive cornetist. Both musicians are trustworthy stewards of swing, and their history together runs deep. At 8:30 and 10:30 p.m., Bar Next Door, 129 Macdougal Street, near West Third Street, Greenwich Village, 212-529-5945, lalanternacaffe.com; $12 cover, with a one-drink minimum. (Chinen)
Michaël Attiasâs Renku (Friday and Saturday) Mr. Attias, a saxophonist, develops compositional fragments into compact expeditions with Renku, a working trio featuring John Hébert on bass and Satoshi Takeishi on drums and percussion. The group is recording a live album during this engagement, and will host a master class on Saturday from 1 to 3 p.m. At 7:30 and 9 p.m., Greenwich House Music School, 46 Barrow Street, West Village, 212-242-4770, greenwichhouse.org; $15, $12 for students; master class, $10. (Chinen)
â âThe Big Pictureâ (Wednesday and Sundays, through Feb. 23) The clarinetist David Krakauer, an authority in the field of klezmer music, has a new album, âThe Big Picture,â that explores his Jewish identity through the lens, or lenses, of movie music: so âPeople,â from âFunny Girl,â shares a track list with a revamped âTradition,â from âFiddler on the Roof.â This twice-weekly residency will feature Mr. Krakauer in concert â with a band that includes the pianist Rob Schwimmer, the violinist Sara Caswell and the bassist Mark Helias â alongside cinematic graphics by Light of Day and Cutting Room Films. Wednesdays at 7:30 p.m., Sundays at 2 p.m., Edmond J. Safra Hall at the Museum of Jewish Heritage, 36 Battery Place, Lower Manhattan, 646-437-4200, mjhnyc.org/bigpicture; $35, $30 for students, $25 for members. (Chinen)
Matt Brewer (Monday) Mr. Brewer has established a foothold as one of the stalwart young bassists on the progressive jazz scene, in bands led by the alto saxophonists Greg Osby and Steve Lehman, among others. Here, on the eve of a recording session for his debut album, he will lead a quintet with Mr. Lehman, the tenor saxophonist Mark Turner, the pianist David Virelles, the guitarist Lage Lund and the drummer Marcus Gilmore. At 7 and 8:15 p.m., Shapeshifter Lab, 18 Whitwell Place, Brooklyn, shapeshifterlab.com; $15. (Chinen)
Ron Carter Quartet (Tuesday through Feb. 9) Ron Carter, one of jazzâs most highly regarded bassists, tends to favor polish over power in his small-group work, but that doesnât mean his bands lack a vital spark. This one shouldnât, anyway: it features a smartly intuitive pianist, Renee Rosnes, along with the drummer Payton Crossley and the percussionist Rolando Morales-Matos. At 8 and 10:30 p.m., Blue Note, 131 West Third Street, Greenwich Village, 212-475-8592, bluenote.net; $35 cover at tables, $20 at the bar, with a $5 minimum. (Chinen)
Gerald Clayton Quartet (Tuesday through Feb. 9) Gerald Clayton, a pianist of smartly soulful exposition, received a Grammy nomination for âLife Forum,â his most recent album, which reveals his sure-footed ambition as a composer-bandleader. Heâs likely to bring a similar scope to this engagement. At 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, 212-255-4037, villagevanguard.com; $25 and $30 cover, with a one-drink minimum. (Chinen)
Connie Crothers Quartet (Tuesday) A pianist originally in the Lennie Tristano lineage, and now drawn to open-form improvisation, Connie Crothers celebrates the release of an album called âDeep Friendship,â with help from the alto saxophonist Richard Tabnik, the bassist Ken Filiano and the drummer Roger Mancuso. At 8 p.m., Roulette, 509 Atlantic Avenue, near Third Avenue, Boerum Hill, Brooklyn, 917-267-0363, roulette.org; $20, $15 for students. (Chinen)
Joey DeFrancesco Trio (Friday and Saturday) On his most recent album, âOne for Rudy,â the virtuoso Hammond B-3 organist Joey DeFrancesco pays homage to Rudy Van Gelder, the recording engineer with whom he has been professionally acquainted for some 25 years. Mr. DeFrancesco will probably draw from that collection here, working with the guitarist Paul Bollenback and the drummer Carmen Intorre. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, 212-581-3080, birdlandjazz.com; $40 cover, with a $10 minimum. (Chinen)
Amina Figarova Sextet (Tuesday) The pianist Amina Figarova, born in Azerbaijan and now a New Yorker after spending years in the Netherlands, draws partly here from her most recent album, âTwelve.â Her band features her husband, Bart Platteau, on flute, along with the tenor saxophonist Marc Mommaas, the trumpeter Alex Pope Norris, the bassist Luques Curtis and the drummer Jason Brown. At 7:30 and 9:30 p.m., Dizzyâs Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, 212-258-9595, jalc.org; $30 cover, with a $10 minimum; $15 for students. (Chinen)
4 Generations of Miles (Tuesday through Feb. 8) The rapid permutation of Miles Davisâs bands makes it technically possible for four of his former sidemen to claim connection to four separate phases of his career. Here as in similar past engagements, those musicians are the drummer Jimmy Cobb, the alto saxophonist Sonny Fortune, the bassist Buster Williams and the guitarist Mike Stern. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, 212-581-3080, birdlandjazz.com; $40 cover, with a $10 minimum. (Chinen)
â Phil Grenadier Trio (Thursday) A post-bop trumpeter with a fluent and lyrical style, Phil Grenadier stocks his bands with longtime associates, notably his brother, the first-call bassist Larry Grenadier. For this one-nighter, the drummer is Bill Stewart, and the featured guest â technically making it a quartet gig â is the tenor saxophonist Bill McHenry. At 9 and 11 p.m., the Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, 646-494-3625, jazzgallery.org; $15, $10 for members in the first set; $10, $5 for members in the second set. (Chinen)
â Keith Jarrett (Wednesday) The solo-piano recital, as a ritual of spontaneous melodic rapture, has been an anchor of Mr. Jarrettâs portfolio since âThe Köln Concert,â almost 40 years ago. This concert, in a hall that has seen some analogous recent triumphs from him, will be Mr. Jarrettâs only solo performance this year. If itâs a good night, it should be spellbinding. At 8 p.m., Isaac Stern Auditorium, Carnegie Hall, 212-247-7800, carnegiehall.org; $45 to $100. (Chinen)
Jazz âFameâ (Monday) The quotation marks in the title might seem a tad awkward, but they serve a purpose, since this benefit concert celebrates the jazz legacy of La Guardia High School, of âFameâ movie fame. Among the artists appearing â some, but not all, alumni â are the clarinetists Paquito DâRivera and Don Byron; the pianists Arturo OâFarrill and Jeremy Manasia; and the bassists Andy Gonzalez and Marcus Miller. At 7:30 p.m., La Guardia High School, 100 Amsterdam Avenue, at 65th Street, Manhattan, 212-496-0700, alumniandfriends.org; $35 and $75. (Chinen)
Mike LeDonne (Friday, Saturday and Tuesday) This weekend Mike LeDonne, an earnest and articulate pianist, leads FiveLive, a pugnacious hard-bop unit featuring the trumpeter Jeremy Pelt, the tenor saxophonist Eric Alexander, the bassist John Webber and the drummer Joe Farnsworth. On Tuesday Mr. LeDonne switches to Hammond B-3 organ for a weekly gig with his Groover Quartet, which includes Mr. Alexander, Mr. Farnsworth and the guitarist Peter Bernstein. At 7, 9 and 10:30 p.m., Smoke, 2751 Broadway, at 106th Street, 212-864-6662, smokejazz.com; $38 cover on Friday and Saturday, no cover on Tuesday, with a $20 minimum for the late set. (Chinen)
Ole Mathisen and Chris Washburneâs Ffear (Saturday) Ffear is a chamber-like ensemble led, with scholarly intent, by the saxophonist Ole Mathisen and the trombonist Chris Washburne. (Its name is an acronym for Forum for Electro-Acoustic Research.) Here they will be joined by Hans Glawischnig on bass and Marko Djordjevic on drums. At 9 and 11 p.m., the Jazz Gallery at Salt Space, 1160 Broadway, fifth floor, at West 27th Street, 646-494-3625, jazzgallery.org; $20, $10 for members. (Chinen)
â Danilo Pérez: âPanama 500â (Thursday through Feb. 9) To celebrate the release of âPanama 500â â his ambitious, pan-stylistic new concept album, a sequel of sorts to âMotherland,â from 2000 â Mr. Pérez, the brightly expressionistic pianist and composer, reconvenes much of its roster. That includes the members of his longtime trio, the bassist Ben Street and the drummer Adam Cruz, as well as Roman Díaz on hand percussion and Alex Hargreaves on violin. At 7:30 and 9:30 p.m., with an 11:30 set next Friday and Feb. 8, Jazz Standard, 116 East 27th Street, Manhattan, 212-576-2232, jazzstandard.net; $25 to $30 cover. (Chinen)
â Marc Ribot at the Stone (Friday through Sunday) Marc Ribot, whose persuasively prickly guitar playing has long been a protean feature of the downtown scene, has been in residence at the Stone this week, seeking revelation with a series of partners. On Friday, he plays an 8 p.m. set with voice and guitar, featuring a full band, and at the same time on Saturday he will perform a solo set for voice and guitar. A 10 p.m. set on Friday will feature the bassist Henry Grimes, the drummer Chad Taylor and his fellow guitarist Mary Halvorson; at 10 p.m. on Saturday heâll work with Mr. Grimes, Mr. Taylor and the multi-instrumentalist Cooper-Moore. Sundayâs early set will be outsourced to a John Zorn improv party (with a $25 cover charge); at 10 p.m. that night, Mr. Ribot will play Mr. Zornâs âBook of Headsâ and John Cageâs âSome of the Harmony of Maine.â The Stone, Avenue C and Second Street, East Village, thestonenyc.com; $15 per set, $10 for students. (Chinen)
Pete Robbins Pyramid Quintet (Saturday) On âPyramid,â his recently released album, the alto saxophonist Pete Robbins applies some new post-bop calculus to a program of unlikely covers, including âHallelujah,â by Leonard Cohen, and âSweet Child Oâ Mine,â by Guns Nâ Roses. (Some are unlikelier than others.) Mr. Robbins has a different lineup here than on the album, but still a good one: Jonathan Finlayson on trumpet, Carlos Homs on piano, Eivind Opsvik on bass and Nate Wood on drums. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, 212-989-9319, corneliastreetcafe.com; $10 cover, with a $10 minimum. (Chinen)
â Mark Turner Quartet (Friday through Sunday) The tenor and soprano saxophonist Mark Turner, who has done plenty of remarkable work in collective settings, steps into a leadership role with this band, featuring Avishai Cohen on trumpet, Joe Martin on bass and Marcus Gilmore on drums. Its coolheaded strain of post-bop will soon be captured in album form on ECM, but itâs best heard, at least in the meantime, right here. At 8:30 and 10:30 p.m., Village Vanguard, 178 Seventh Avenue South, at 11th Street, West Village, 212-255-4037, villagevanguard.com; $25 and $30 cover, with a one-drink minimum. (Chinen)
Doug Wieselman (Tuesday and Feb. 8) Mr. Wieselman is a multireedist with a knack for turning up in superlative company, from the trumpeter Steven Bernstein and the producer Hal Willner to the likes of Martha Wainwright and Lou Reed. His new album, âFrom Water,â is a solo clarinet recording, though it often sounds lush and layered, by way of his work with sampled loops. He will revisit that format, and the albumâs aquatic premise, in these two solo concerts. Tuesday at 10:30 p.m., Le Poisson Rouge, 158 Bleecker Street, near Thompson Street, Greenwich Village, 212-505-3474, lepoissonrouge.com; $10. Feb. 8 at 8 p.m., Barbès, 376 Ninth Street, at Sixth Avenue, Park Slope, Brooklyn, 347-422-0248, barbesbrooklyn.com; $10. (Chinen)
â Matt Wilson Quartet with John Medeski (Friday through Sunday) The drummer and bandleader Matt Wilson has long held fast to a value system that prizes simplicity and sincerity, rugged effort and sturdy design. He has a new album, âGathering Call,â that augments his quartet â featuring the cornetist Kirk Knuffke, the saxophonist Jeff Lederer and the bassist Chris Lightcap â with a guest pianist, John Medeski, who fits right in, just as he should here. At 7:30 and 9:30 p.m., Dizzyâs Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, 212-258-9595, jalc.org; $35 to $45 cover, with a $10 minimum; $20 to $25 for students. (Chinen)
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Earl Wilson/The New York Times
Vince Giordano owns a home in Brooklyn, where he lives with his music.
He also owns a second home in Brooklyn, where his music lives alone.
âI needed to buy the house next door just to store my ever-growing collection of music,â said Mr. Giordano, a composer and jazz musician who owns roughly 3,000 piano rolls, 31,000 pieces of sheet music and 60,000 arrangements of big-band songs that were popular from the 1920s through the 1940s. Each paper item is cataloged, kept in a separate envelope and stored in one of the filing cabinets located throughout both of his homes.
âIâm always on the hunt for old music, especially stuff that is now out of print,â Mr. Giordano said. âI have already cleaned out three old movie theaters, in Buffalo, St. Louis and New Jersey, that used sheet music and band arrangements for stage shows.â
âItâs called preservation,â he added.
In the home where Mr. Giordano lives, over 1,000 piano rolls are neatly displayed inside the cubbyholes of a giant wall unit.
âPiano rolls were once a form of entertainment,â he said on a recent afternoon. âPeople would gather around pianos and have singalongs to the hit tunes of the early days.â
Remnants of those early days were gathered around Mr. Giordano as he sat in his living room alongside entertaining company: a large tuba, a bass saxophone, a string bass and a Steinway player piano from the 1920s. A drum set from that same era hung from the ceiling above a Victrola that has been spinning records for more than a century.
Mr. Giordano later went up to his bedroom and dropped a thick shellac record on a phonograph, literally cranking up a tune called âSunrise and Youâ by the Max Fells Della Robbia Orchestra.
âThe beauty of this phonograph is that it is all mechanical,â he said proudly. âEven if you lost all electricity, you can still play your record.â
Mr. Giordano, who is 61 and divorced and who speaks with the quiet ease of a priest in a confession booth, is not ashamed to admit that he is married to his profession.
âBig-band music, I love it, I have always loved it,â he said. âIt comes from a time when people really didnât have a lot of things; they didnât have iPhones and computers. They just went out and had a great time, and the music that I play is reflective of that time.â
He soon began fine-tuning arrangements for a one-night performance on Feb. 12 at Town Hall on West 43rd Street in Manhattan. There, Mr. Giordano and his band, the Nighthawks, will honor the 90th anniversary of George Gershwinâs composition âRhapsody in Blue,â which was introduced on Feb. 12, 1924, at Aeolian Hall, which was also on 43rd Street.
The concert will also feature the music of the composers Irving Berlin, Victor Herbert, Jerome Kern and Zez Confrey.
âItâs one of the great thrills in my life to be able to salute a very important piece of music and all these great composers,â Mr. Giordano said. â âRhapsody in Blueâ is a part of the music that would eventually change the world, as it was the first serious work of a combination of jazz and classical music.â
Mr. Giordanoâs band won a Grammy Award in 2011 for Best Compilation Soundtrack for Visual Media, on Martin Scorseseâs âBoardwalk Empire,â which appears on HBO.
âI also played the role of a bandleader on Boardwalk who gets to yell out the key word, âprohibition,â â Mr. Giordano said. âMr. Scorsese had me shout that word, prohibition, 42 times. I said âMr. Scorsese, please I canât say it anymore.â He kept saying, âTry it again Vince, keep trying it again.â â
Through the years, Mr. Giordano has lent his music and acting talents to a number of other projects, including Francis Ford Coppolaâs âCotton Clubâ and Mr. Scorseseâs âAviator,â and he has worked on a half-dozen Woody Allen soundtracks. The Nighthawks, who were formed in 1976, have worked together on the soundtracks of Robert De Niroâs âGood Shepherdâ and Michael Mannâs âPublic Enemies.â
Mr. Giordano was born in Brooklyn and was 2 when his family moved to Smithtown, on Long Island, where he grew up perfecting the art of playing the bass saxophone, tuba and string bass. He became interested in big-band music when his grandmother let him play records on her Victrola.
âThe sounds coming out of that old machine, wow,â said Mr. Giordano, suddenly speaking in a higher key. âI was hooked.â
Music became his life â and his obsession. Evidence can be found in the framed photographs that sit atop his coffee tables and cover the walls of his single-family home. They are photos not of family members, but of jazz icons like Duke Ellington, Louis Armstrong, Fletcher Henderson, Fats Waller, Miles Davis and Benny Goodman.
âThese are all my gods,â Mr. Giordano said. âI often look up to the heavens and ask them, âHow am I doing?â â
Standing in the basement of his second home, Mr. Giordano pulled a piece of sheet music from a filing cabinet.
âNow look at this great piece by Gershwin from 1933; itâs called âOn and On and On,â â he said. âThat pretty much sums up my music collection, my career and big-band music in general: It just goes on and on and on.â
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Jacob Blickenstaff for The New York Times
The first and last sounds on “303,” Rudy Royston’s sit-up-and-take-notice debut album, involve a tranquil, mysterious, cooled-out funk groove, like an interlude on an early-2000s neo-soul production. Anchored by a soulfully simple bass vamp, with a smoky overlay of horns and guitar, the tune — “Mimi Sunrise,” an opener that resurfaces as a hidden track — calls barely any attention to Mr. Royston’s specific purview, which is drumming. There’ll be time for all that, he seems to imply.
Another rewarding new album by a jazz drummer, Ulysses Owens Jr.’s “Onward & Upward,” opens and closes on a beat, with no pretense of melody. In the punch and clatter of those tracks — an intro framed by flamenco handclaps and a “Drum Postlude” built around a Bernard Purdie shuffle— Mr. Owens draws an immediate focus on the function of his instrument, as if issuing an urgent bulletin.
A third approach plays out on “Time’s Tales,” by the Jeff Ballard Trio: yet another new album signaling a drummer’s move to the foreground. There are no bookends here, unless you count the intuitive stir of Mr. Ballard’s rapport with the West African guitarist Lionel Loueke and the Puerto Rican alto saxophonist Miguel Zenón.
Samuel Dietz/Redferns, via Getty Images
By now, it’s a given that jazz drummers hold the key to tracking the evolution of the music. But their lexicon holds so many variations of style, adapted from myriad sources outside jazz, that it can seem ungraspable on the whole. The drummer-led albums released this week don’t begin to resolve the issue, but together they offer a snapshot of mainstream conventions, and not just in the area of rhythm.
All three albums feature serious, style-blending guitarists and brisk, authoritative saxophonists. Each album has at least one reworked pop song, and two of the three have a piece from the classical canon. The original compositions reflect both a firm foothold in modern jazz and a poplike elevation of melody. On each album, there’s a streamlined take on carnival rhythm. And in every case, there’s a careful regulation of ensemble dynamics, informed by innumerable hours logged as a sideman.
Mr. Royston, 43, is the breakout story of the three. An alert and powerful drummer, he has emerged as a first-tier talent, especially in the last six years. The excellent band on his album includes the unflappable saxophonist Jon Irabagon, a fellow member of the current Dave Douglas Quintet, and the exacting trumpeter Nadje Noordhuis, who hasn’t had a better showcase apart from her own recent debut. The guitarist is Nir Felder, and the pianist is Sam Harris: strong voices in ascendance. Strikingly, there are two bassists, Yasushi Nakamura and Mimi Jones. (“Mimi Sunrise” was named after her.)
It is, perhaps, not the happiest week for flying Denver colors. But by naming “303” (Greenleaf) after his old area code, Mr. Royston recalls his own history there, notably under the guidance of the deeply lyrical trumpeter Ron Miles. “Miles to Go (Sunset Road)” is a brooding nod to that influence; “Goodnight Kinyah,” a glowingly earnest waltz with gospel underpinnings, suggests it a little more obliquely.
Elsewhere, Mr. Royston pursues a more rough-and-tumble style. “Play on Words” and “Bownze” are syncopated knockouts, and the title track moves from a cool idyll to a combustive clamor. Mr. Royston, who does end up flexing his chops on the album, composed every piece but two, by Mozart (“Ave Verum Corpus”) and Radiohead (“High and Dry”).
Jacob Blickenstaff for The New York Times
The analogous moves on Mr. Owens’s album include a head-bobbing cover of the Stylistics’ “People Make the World Go Round,” with vocals by Charles Turner; and a trio version of “Human Nature,” the Michael Jackson hit. Neither is a total win — the arrangement for “Human Nature” skews uncomfortably close to the one favored by the Vijay Iyer Trio — but still, point taken. Mr. Owens isn’t a purist.
His background explains why he might need to stress that idea. At 31, he has been heard backing the singer Kurt Elling and others, but his flagship affiliation is with the bassist Christian McBride, in a trio and big band that both stand on a bedrock of tradition. “Onward & Upward” (D-Clef) is named after a signoff by the pianist Mulgrew Miller, another keeper of the flame, and includes a few tracks in that lineage.
But Mr. Owens, leading a group with Jason Palmer on trumpet, Michael Dease on trombone and Anat Cohen on tenor saxophone and clarinet, also makes a show of stretching out. On “SST,” his whiplash drumming propels a pair of expeditious solos, by the guitarist Gilad Hekselman and the pianist Christian Sands. It’s a modest departure, but for Mr. Owens as well as Mr. Sands, his younger partner in the Christian McBride Trio, it has the ring of other liberties ahead.
On “Time’s Tales” (OKeh), the best album of the bunch, any trace of inhibition has already been shed. Mr. Ballard, 50, has been a force in jazz for about half his lifetime. It’s only technically accurate to call this his debut, since he’s the de facto leader of Fly, a nimble collective with several superb albums. And as with that trio, this one sidesteps any hierarchies that stand in the way of cohesive parity.
Still, Mr. Ballard puts his stamp on the music, magically evoking the drum corps of a New Orleans brass band on “Beat Street” and basking in complex polyrhythm on Mr. Loueke’s “Virgin Forest.” Mr. Loueke and Mr. Zenón express themselves completely, bringing the same spryness and discovery to an abstracted Bartók theme as to a Cuban bolero. Essaying “The Man I Love,” the Gershwin tune, they create a slow, breathing pulse; they start in a similar mode on “Free 3,” the spontaneous invention that closes the album.
Somewhere in between comes a cover of “Hangin’ Tree,” by the hard-rock band Queens of the Stone Age, startling in this context both for its gnarled distortion and its grinding, jagged meter. By the time Mr. Zenón enters with the melody, in a calmly imploring tone, it’s clear that the trio is bringing the full measure of its rigor. Mr. Ballard holds down the churning center, with the focused looseness of someone with nothing to prove.
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Full reviews of recent jazz performances: nytimes.com/jazz.A searchable guide to these and other shows is at nytimes.com/events.
Cyrille Aimée (Tuesday through Feb. 15) A jazz singer of unforced cosmopolitanism â born in France, of French and Dominican parentage â Ms. Aimée has proved her salt under stress, finishing in the finals of the Thelonious Monk International Jazz Vocal Competition a few years back, and winning the Sarah Vaughan International Jazz Vocal Competition last year. She appears as usual with the Surreal Band, a working cohort trained to support the natural spring in her style. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, 212-581-3080, birdlandjazz.com; $40, with a $10 minimum. (Nate Chinen)
â Melissa Aldana (Saturday) Last fall Ms. Aldana, a tenor saxophonist originally from Santiago, Chile, and now living in New York, won the Thelonious Monk International Jazz Competition, becoming the first female musician to do so. As such, she appears in a three-part Monk in Motion series, leading her Crash Trio, which features Pablo Menares on bass and Francisco Mela on drums. At 7:30 p.m., TriBeCa Performing Arts Center, Borough of Manhattan Community College, 199 Chambers Street, near Greenwich Street, 212-220-1460, tribecapac.org; $25, $15 for students. (Chinen)
â Barry Altschulâs 3dom Factor (Wednesday) The drummer Barry Altschul, 71, has been a stealth eminence in jazz â known mainly within the avant-garde, and for music he made many years ago. But thatâs changing, thanks to work like âThe 3dom Factor,â his first album as a leader since the mid-â80s, which features the youngish saxophonist Jon Irabagon, who has been one agent of Mr. Altschulâs recent re-emergence, and the veteran bassist Joe Fonda, who has been another. At 8:30 p.m., Cornelia Stre
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2006-05-29T06:43:49+00:00
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https://en.wikipedia.org/wiki/Buddy_Collette
|
American jazz musician (1921–2010)
Musical artist
William Marcel "Buddy" Collette (August 6, 1921 – September 19, 2010) was an American jazz flutist, saxophonist, and clarinetist. He was a founding member of the Chico Hamilton Quintet.
Early life
[edit]
William Marcel Collette was born in Los Angeles on August 6, 1921. He was raised in Watts, surrounded by people of all different ethnicities. He lived in a house built by his father in an area with cheap, plentiful land. The neighborhood in which he grew up was called Central Gardens area. For elementary school, he attended Ninety-sixth Street School because it allowed black students.
Collette began playing piano at age ten, at his grandmother's request. His love for music came not only from his community, but from his parents—his father played piano and his mother sang. In middle school, he began playing the saxophone. That same year, he formed his first band. They played the music of Dootsie Williams, which Collette's parents had received while at a party. The following year, Collette started a band with Ralph Bledsoe and Raleigh Bledsoe. Together they played for less than a dollar each at parties put on by people in the area on Saturday nights.
Following this, Collette started a third group which eventually included Charles Mingus on bass. He and Mingus became very good friends. When he was fifteen, Collette became a part of the Woodman brothers' band, along with Joe Comfort, George Reed, and Jessie Sailes.[1]
Music career
[edit]
During his first couple years of high school, Collette began traveling to Los Angeles in order to form connections with other musicians. At the Million Dollar Theatre, he and his band competed in a battle of the bands, but lost to a band that included Jackie Kelson, Chico Hamilton, and Al Adams. Afterwards, Collette was asked to join the winning band, making twenty-one dollars per week. Later, Charles Mingus joined this band.
At the age of 19, Collette started taking musical lessons from Lloyd Reese, who also taught Eric Dolphy, Charles Mingus, and many others. Collette credits Reese with teaching him and the other musicians how to manage themselves in the music world.
During World War II, Collette served with the U.S. Navy band attached to the pre-flight school at St. Mary's College. Led by Marshal Royal, it was one of two regimental bands of African-American musicians. From that band of 45 musicians, two dance bands were formed, the first being the Bombardiers, led by Royal. The second dance band, the Topflighters, was led by Collette, who had been playing with Les Hite's band in 1941 before enlisting. His memoir records a trip that he, Bill Douglass, and Charles Mingus made from Los Angeles to San Francisco in October 1942, after hearing that a Navy officer was recruiting musicians from the union there to serve in an all-black band that would be stationed at St. Mary's.
Both Mingus and Douglass changed their minds, however. Douglass was later drafted by the Army; Mingus got re-classified 4-F. Collette, like most black Navy bandsmen, was trained at Camp Robert Smalls, at the Great Lakes, Chicago, complex of Navy bases.[2]
According to Collette, he formed the second dance band at St. Mary's after he refused to join the Bombardiers on baritone sax, and along with most of the remaining fellows in the marching band realized that the dance band service was much easier than general musicians duty. Also in his band were Orlando Stallings on saxophone; James Ellison, Myers Franchot Alexander and Henry Godfrey on trumpet; George Lewis on first trombone; Ralph Thomas on bass tuba; and a few fellows he recalls only by nickname: "the Indian" on bass; "the Spider" and "the Crow" on tenor saxophones.[3]
Both dance bands played gigs at the Stage Door Canteen, the USO in San Francisco that featured 24-hour service and entertainment, as featured acts and as back-ups to the stars that were performing there, usually unannounced, when they were in the San Francisco area.[3]
Willie Humphrey, a New Orleans Dixieland jazz legend, joined the marching band late. Collette recalls that Marshal Royal didn't realize who he was and wasn't that interested in Dixieland, so Collette was able to get him into the Topflighters and subsequently arranged songs to highlight Humphrey's talent.[3]
Collette and others from St. Mary's played at clubs around San Francisco, especially in Oakland and at Redwood City, south of San Francisco, while in the Navy. "When you're in uniform, you're not supposed to be working outside," he writes, "so we would get in civilian clothes–it was such a good job."[3]
After serving as a U.S. Navy band leader, he played with the Stars of Swing (Woodman, Mingus, and Lucky Thompson), Louis Jordan, and Benny Carter.[3]
In 1949, he was the only black member of the band for You Bet Your Life, a TV and radio show hosted by Groucho Marx. In the 1950s, he worked as a studio musician with Frank Sinatra, Ella Fitzgerald, Duke Ellington, Count Basie, Nat King Cole, and Nelson Riddle.
In 1955, he was a founding member of the Chico Hamilton Quintet, playing chamber jazz flute with guitarist Jim Hall, cellist Fred Katz, and bassist Carson Smith.[1] [4] He also taught, and his students included Mingus, James Newton, Eric Dolphy, Charles Lloyd, and Frank Morgan. He helped merge an all-black musicians' union with an all-white musicians' union.[1]
In 1949, Collette was the first black musician to be hired by a nationally broadcast TV studio orchestra, on You Bet Your Life, hosted by Groucho. It has been noted that the conductor of the orchestra, Jerry Fielding, received hate-mail for standing by Collette. Collette's job and job security on the popular television show signaled that opportunities were becoming more readily available for black musicians by the 1950s.
Musical collaborations
[edit]
Increasingly successful in the late 1940s, Collette was called upon frequently for collaborations and recordings on alto saxophone with musicians such as Ivie Anderson, Johnny Otis, Gerald Wilson, Ernie Andrews, and Charles Mingus. Most notably, Collette and Mingus formed their first band in 1933, the driving force that convinced Mingus to switch from cello to bass. He went on to form a short-lived yet cooperative band in 1946 with Mingus called "Stars of the Swing". Collette was a musical director for the jazz band program at Loyola Marymount University.
Involvement in music unions
[edit]
Around the early 1900s, Los Angeles was primarily divided into two music unions: Local 47, a union for white musicians, and Local 767, a union for black musicians.[1] Buddy Collette and several other black musicians including Bill Green, Charles Mingus, Britt Woodman Milt Holland made concentrated efforts to merge the two unions to one, color-blind union in the early 1950s.[1] Initially, the merge existed as an interracial symphony performing at the Humanist Hall on Twenty-third and Union.[1] This group received a great deal of publicity as iconic figures such as "Sweets" Edison, Nat King Cole, and Frank Sinatra provided public support of the interracial group.[1] The success of this group led to the coalition of the two segregated locals.
Buddy Collette eventually made the board of Local 767 along with Bill Douglass in the vice-president's position.[1] After three years of working with Leo Davis and James Petrillo, the presidents of Local 767 and Local 47 respectively, the two groups became what Collette calls an "amalgamation" of the two in 1953.[1] This merging signified greater opportunity for these musicians in both careers and insurance benefits, as well as great racial advancement. Up to forty locals have since replicated this success elsewhere, which has allowed the talent of a musician as opposed to his/her race determine success.[1]
Association with the Chico Hamilton Quintet
[edit]
In 1955, Collette became a founding member of the unusually instrumented chamber jazz quintet, led by percussionist Chico Hamilton. The quintet was notable for having cellist and pianist (Fred Katz) as the band's centerpiece, leading Collette to refer to Katz as "the first jazz cello player".[4] The group gained national prominence and became one of the most influential West Coast jazz bands, synonymous with the laidback "cool jazz" of the 1950s.[5] In the quintet, Collette played the reeds (tenor and alto saxophones, the flute and clarinet).[4]
In 1957, the group (accompanied by flutist Paul Horn and guitarist John Pisano) made a cameo appearance in the Burt Lancaster-Tony Curtis film, "Sweet Smell of Success".[6] Later that year, Collette collaborated with Horn in his own flutist ensemble, the "Swinging Shepherds", a four-flute-lineup.[7]
In November 1958, Langston Hughes read poems to accompaniment by Collette and his band at the Screen Directors Theatre in Los Angeles.[8] In 1960, Collette and his band gave a performance in the Newport Jazz Festival documentary "Jazz on a Summer's Day", alongside flutist Eric Dolphy.[6]
In 1996, when the Library of Congress commissioned Collette to write and perform a special big-band concert to highlight his long career, he brought together some old collaborators to perform with him, including Chico Hamilton.[4]
Death, legacy and influence
[edit]
Collette died in Los Angeles of heart failure at the age of 89.[9]
Collette joined the faculty at California State University, Pomona campus in 1992 where he was a conductor of the jazz and combo band. Collette held important faculty positions at CSULA, CSULB, California State University Dominguez Hills, and Loyola Marymount University.
He was designated a Los Angeles Living Cultural Treasure by the city of Los Angeles in the late 1990s, and, in the early 2000s, he was composing music for JazzAmerica, a band of teen jazz virtuosos he co-founded.[10]
Collette's career and accomplishments were rewarded by the Los Angeles Jazz Society where he received a special commendation, and with the Lifetime Achievement Award from the American Federation of Musicians. Local 47, for his musical contributions spanning four decades. Collette's legacy lives on through the JazzAmerica program, a non-profit organization which he co-founded in 1994 that aims at bringing jazz into classrooms in middle school and high schools in the greater Los Angeles area tuition-free.
Discography
[edit]
As leader/co-leader
[edit]
Tanganyika (Dig, 1956)
Man of Many Parts (Contemporary, 1956)
Aloha To Jazz Bel Canto Records, 1957 (one side by The Polynesians)
Cool, Calm & Collette (ABC-Paramount, 1957)
Everybody's Buddy (Challenge, 1957)
Porgy & Bess (Interlude, 1957)
Nice Day with Buddy Collette (Contemporary, 1957)
Flute Fraternity (Mode, 1957) with Herbie Mann
Aloha to Jazz (Bel Canto, 1957)
Jazz Loves Paris (Specialty, 1958)
Marx Makes Broadway, (VSOP, 1958)
Buddy Collette's Swinging Shepherds (EmArcy, 1958)
Buddy Collette Septet – Polynesia (Music & Sound, 1959)
At the Cinema! (Mercury, 1959
The Polyhedric Buddy Collette (Music Records, 1961)
Buddy Collette in Italia (Ricordi, 1961
The Soft Touch of Buddy Collette (Music Records, 1962)
The Buddy Collette Quintet (Studio West, 1962) with Irene Kral
The Girl from Ipenema (Crown, 1964)
Warm Winds (World Pacific, 1964) with Charles Kynard
Buddy Collette on Broadway (Survey, 1966)
Now and Then (Legend, 1973)
Block Buster (RGB, 1974)
Flute Talk (Soul Note, 1988)
Jazz for Thousand Oaks (UFO Bass, 1996)
Live from the Nation's Capital (Bridge, 2000)
Tasty Dish (Fresh Sound/Jazz Archives, 2004)
Live at El Camino College (UFO Bass, 2006)[11]
As sideman
[edit]
With Chet Baker
Blood, Chet and Tears (Verve, 1970)
With Louis Bellson
Music, Romance and Especially Love (Verve, 1957)
Louis Bellson Swings Jule Styne (Verve, 1960)
With Brass Fever
Brass Fever (Impulse!, 1975)
Time Is Running Out (Impulse!, 1976)
With James Brown
Soul on Top (King, 1969)
With Red Callender
Swingin' Suite (Crown, 1957)
The Lowest (MetroJazz, 1958)
With Conte Candoli
Little Band Big Jazz (Crown, 1960)
With Benny Carter
Aspects (United Artists, 1959)
Additions to Further Definitions (Impulse!, 1966)
With June Christy
Something Cool (Capitol, 1955)
Ballads for Night People (Capitol, 1959)
With Nat King Cole
L-O-V-E (Capitol, 1965)
With Miles Davis and Michel Legrand
Dingo (Warner Bros., 1991)
With Sammy Davis Jr.
The Wham of Sam (Reprise, 1961)
With Ella Fitzgerald
Ella Fitzgerald Sings the George and Ira Gershwin Songbook (Verve, 1959)
With Gil Fuller
Gil Fuller & the Monterey Jazz Festival Orchestra featuring Dizzy Gillespie (Pacific Jazz, 1965)
With Ted Gärdestad
Blue Virgin Isles (Epic, 1978)
With Jimmy Giuffre
The Jimmy Giuffre Clarinet (Atlantic, 1956)
With Chico Hamilton
Chico Hamilton Quintet featuring Buddy Collette (Pacific Jazz, 1955)
The Original Chico Hamilton Quintet (World Pacific, 1955 [1960])
Chico Hamilton Quintet in Hi Fi (Pacific Jazz, 1956)
Ellington Suite (World Pacific, 1959)
The Three Faces of Chico (Warner Bros., 1959)
With Eddie Harris
How Can You Live Like That? (Atlantic, 1976)
With Jon Hendricks
¡Salud! João Gilberto, Originator of the Bossa Nova (Reprise, 1961)
With Freddie Hubbard
The Love Connection (Columbia, 1979)
With Quincy Jones
Go West, Man! (ABC Paramount, 1957)
With Fred Katz
Soul° Cello (Decca, 1958)
Folk Songs for Far Out Folk (Warner Bros., 1958)
With Stan Kenton
Kenton / Wagner (Capitol, 1964)
With Barney Kessel
Easy Like (Contemporary, 1956)
Music to Listen to Barney Kessel By (Contemporary, 1957)
Carmen (Contemporary, 1958)
With Wade Marcus
Metamorphosis (Impulse!, 1976)
With Les McCann
Les McCann Sings (Pacific Jazz, 1961)
With Carmen McRae
Carmen for Cool Ones (Decca, 1958)
Portrait of Carmen (Atlantic, 1968)
With Charles Mingus
The Complete Town Hall Concert (Blue Note, 1962 [1994])
With Blue Mitchell
Bantu Village (Blue Note, 1969)
With Lyle Murphy
Four Saxophones in Twelve Tones (GNP, 1955)
With Oliver Nelson
Zig Zag (Original Motion Picture Score) (MGM, 1970)
Skull Session (Flying Dutchman, 1975)
Stolen Moments (East Wind, 1975)
With Dory Previn
On My Way to Where (United Artists, 1970)
Mythical Kings and Iguanas (United Artists, 1971)
Dory Previn (Warner Bros., 1974)
With Don Ralke
Bongo Madness (Crown, 1957)
With Buddy Rich
This One's for Basie (Norgran, 1956)
With Little Richard
Mr. Big (Joy, 1965 [1971])
With Shorty Rogers
The Fourth Dimension in Sound (Warner Bros., 1961)
With Pete Rugolo
The Music from Richard Diamond (EmArcy, 1959)
Behind Brigitte Bardot (Warner Bros., 1960)
With Horace Silver
Silver 'n Wood (Blue Note, 1974)
Silver 'n Brass (Blue Note, 1975)
The Continuity of Spirit (Silverto, 1985)
With Frank Sinatra
Sinatra's Swingin' Session!!! (Capitol, 1961)
L.A. Is My Lady (Qwest, 1984)
With Gábor Szabó and Bob Thiele
Light My Fire (Impulse!, 1967)
With The Three Sounds
Soul Symphony (Blue Note, 1969)
Persistent Percussion (1960, Kent, KST 500)
With Mel Tormé
Comin' Home Baby! (Atlantic, 1962)
With Stanley Turrentine
Everybody Come On Out (Fantasy, 1976)
With Gerald Wilson
You Better Believe It! (Pacific Jazz, 1961)
Lomelin (Discovery, 1981)
With Nancy Wilson
Broadway – My Way (Capitol, 1964)
With Red Norvo
Ad Lib (Liberty, 1957)
References
[edit]
Further reading
[edit]
Jazz Generations: A Life in American Music and Society by Buddy Collette with Steven Iosardi (2000)
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Chico Hamilton: chic* chic chico (1965) Impulse!
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2020-12-03T00:00:00
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UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again - Chico at Montreux 1971 added at foot of post. Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly. Selection 1: What's…
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en
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https://secure.gravatar.com/blavatar/9a26151a09d74cf317a93f0f4516d01313d99bf4c1d10b317a001cc310792efa?s=32
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LondonJazzCollector
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https://londonjazzcollector.wordpress.com/2020/12/03/chico-hamilton-chic-chic-chico-1965-impulse/
|
UPDATED December 5, 2020: Harry M The Jazz Paparazzi strikes again – Chico at Montreux 1971 added at foot of post.
Warning, contains multiple digressions. UK vs. Canada, grudge match, may offend Canadians, Hungarians, the English, and the Scots. Anyone else, form an orderly line, LJC will get to offend you shortly.
Selection 1: What’s New (Haggart/ Burke (1939) – UK re-mastered from copy tape, EMI pressing, Hayes Middlesex.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2020/12/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-a82_emi-uk-mono.mp3
. . .
Selection 2: What’s New (Haggart/ Burke, 1939), Sparton Canadian press with US Van Gelder metal.
https://londonjazzcollector.wordpress.com/wp-content/uploads/2019/06/chico-hamilton-whats-new-szabo-from-chic-chic-chico-impulse-sparton-van-gelder-a82-mono.mp3
. . .
Both editions are mono. The crunch is the difference between original Van Gelder master (Canada) and UK EMI remastering. If you can’t hear any difference (MP3 320kbps through headphones) that is a compliment to EMI.
Artists:
John Anderson, trumpet; Lou Blackburn, trombone; Henry Sigismonti, French horn; Bill Green, flute, piccolo; Harold Land, tenor sax; Gabor Szabo, guitar; Albert Stinson, bass; Chico Hamilton, drums, recorded Los Angeles, CA, January 4, 1965
Chamber jazz instrumentation, which includes piccolo, flute and french horn. Interesting choice of Harold Land on tenor, and of course the guitar of Gabor Szabo. Long term Chico collaborator, Szabo has been described as “One of the most original guitarists to emerge in the 1960s, mixing his Hungarian heritage and a distinctive sound with advanced jazz settings.” (All Music) “Not essential, but this album has its strong moments”, says AllMusic, who come up short on Hungarian dining-out recommendations. Not at LJC, Goulash-jazz, Hungarian menu spoken here:
(Scene cuts to 1980’s Soho scene, London )
I learned to navigate a Hungarian menu at Soho’s Gay Hussar restaurant in the 1980s, then a favourite haunt of Westminster’s plotting and scheming Socialist elite. (The People’s Party always seems to dine well). Owner and host Victor advances.
Has sir chosen?
I’ll have the Debreceni kolbász (smoked sausage).
And to drink, sir?
The Egri Bikavér? (Bull’s Blood)
Good choice, sir.
The taste of everything here still haunts me today, especially their signature dessert: piped chestnut puree topped with whipped cream, and finished with a glass of Tokaj (five puttonyos) – “Wine of Kings, and King of Wines” , according to the Tokaj Tourist Board.
A table at the Gay Hussar didn’t actually require you to hold rank in the Hungarian cavalry, nor to be gay, as best I recall. It was more like a Gentleman’s Club, just a few hundred yards from Ronnie Scotts, who didn’t require you to be Scottish either, though in the era of London’s most feared gangsters, Ronnie and Reggie Kray, saying you were “a friend of Ronnie’s” on the door never did any harm.
Back to Gabor Szabo.
On the eve of the Hungarian uprising in 1958 , Szabo and family fled to America, settling in California, which was then part of the United States. Gabor attended Berklee College, Boston, then joined Chico Hamilton’s innovative quintet featuring Charles Lloyd , where he perfected his “agile, near-free runs” (All Music). Gabor Szabo was a melodic player, rather than the chordal style favoured in jazz guitar at the time. A guitarist describes Szabo’s style as “filled with cool idiosyncratic elements: clanging open strings; dissonance, articulate jazz runs; Spanish, gypsy, sitar and Hungarian influences; subtle use of feedback as musical colour and all delivered on a Martin flattop with a Dearmond pickup – 180° away from every other jazz guitarist at the time, and since“
After Szabo and Chico parted company, Hamilton recruited Larry Coryell, a jazz rock guitarist whose style does very little for me.
After recording on Hamilton’s El Chico and Further Adventures of El Chico, Szabo established himself as leader in his own right, putting out a series of albums for Impulse including Gypsy ’66, Spellbinder, Sorcerer, More Sorcery, and Jazz Raga. Szabo’s exotic ethno-folk-jazz must have been an interesting novelty in its day. Familiarity with world sounds is more widespread today, perhaps the novelty has worn off, as a sample from The Sorcerer (1967) below suggests. I quite like the “Space” track, which puts me in mind of a long opening for Grace Slick and Jefferson Airplane, where it would sound more at home.
I can live without these Impulse titles, however, I do get an unexpected craving for a Hungarian take away.
Among this body of work, Szabo pursued a variety of musical directions which pleased the eclectic experience-hungry young audiences on the West Coast.
Interest in pop-psychology was running high In the 1970s with the cult of self-improvement, (which later moved on to the less-demanding cult of home improvement). Szabo joined the Church of Scientology, allegedly in pursuit of a rehab program, but fell out with the Church over its asset demands. However a well-known jazz keyboard player is still hanging in there, Chick, Chick, Chick…
Szabo’s career was cruelly cut short by illness in the 1980s, at the age of only 45. Hamilton outlived him by a margin of two years to one, departing in 2013, aged 92 . The Gay Hussar closed its doors in 2018, age 55. Its planned renaissance as a modern English/ French fine dining venture hangs on the fate of London’s recovery, currently on life-support. I understand Ronnie Scotts too is planning to re-open its doors in early December, including a gig by our own national treasure Simon Spillett. I wish them all every success.
Music
I was aware of Chico Hamilton, but despite his Impulse label pedigree, the production and line-up rarely appealed. A drummer as band-leader? OK, Art Blakey, it can work. The real issue is the place of the guitar. I don’t have a problem with guitarists like Billy Bauer, Grant Green or Kenny Burrell, who fit in the jazz tradition. Szabo no doubt has some fans out there, it has a certain rhythmic and harmonic quality, but jazz-ragas feels very dated. Szabo was later replaced by jazz-rock pioneer guitarist Larry Coryell, and guitar would feature in many of Chico’s later line-ups.
In the selection “What’s New” Gabor does a lengthy guitar introduction with acoustic effects, wandering into some introspective noodling and after ages, around 2:35, Harold Land butts in to remind everyone this is meant to be a jazz session, puts in a passionate solo with artful references to the composition, melody, and chord changes, like a pro. Salvages it for me, love Harold Land.
A reprise of Chico’s later Impulse albums repeats the same formula of latino-fusion-jazz-funk, a steam-roller percussion beat, overlaid with funky guitar accents, and a happy sort-of-repeating tune on top. One tune morphs into another, more of the same background soundtrack feel. Hamilton took the next logical step of forming a commercial and film production company, and went on to score numerous feature films, and hundreds of anonymous commercials for TV and radio. Not to belittle commercial work, a guy’s-gotta-eat, but his output seems low on original artistic content, an re-arranger of well established ideas rather than an innovator.
Vinyl:
UK issue of Impulse A 82 , mono, EMI remastering and pressing
Sparton Impulse Canada label – original metal VAN GELDER pedigree
UK Liner Notes
Canadian Gatefold – wins by a (s)mile!
Collector’s Corner
Canada’s Sparton label was fortunate to be on the Columbia distribution list for original metal. Below is an example of another Sparton Impulse, this time stereo, with RVG Stereo stampers:
As for Chico, I am far from won over by his discography, or his partnership with Szabo’s guitar, however a quick look over my namesake city, London, Ontario, has been an eyeopener.
London, Ontario. Fun Facts #1:
Impulse Records were manufactured and distributed in Canada by Sparton Records, of London, Ontario. Utilitarian industrial building, like any other.
Maybe its because I’m a Londoner…but just who are these people to adopt the name of my town? I wanted to find out more.
London, Ontario, known as The Forest City, was the birthplace of Justin Bieber (150m followers on Instagram). With a population in the ’60s of only 170,000, London Ontario was also home to the largest known concentration of serial killers in the world, with least six active killers between 1959 and 1984.
Over the course of 25 years, London Ontario was shaken by 29 gruesome murders, thirteen of whom were attributed to three killers who were eventually caught and convicted: Gerald Thomas Archer, known as the London Chamber Maid Slayer, Christian McGee, known as the Mad Slasher, and Russell Johnson, known as The Balcony Killer. Where’s Sherlock when you need him? At 221B Baker Street, in the other London, of course.
A century or more before these events, the town of London was primed to become the capital of Upper Canada, later Ontario, but that honour eventually went to Toronto, previously named York. A tale of two cities, London Ontario also enjoys a river named The Thames (below, left) Real Thames, England (below right)
In 1838 the British government located its Ontario peninsular garrison in London, in order to repel anyone foolish enough to mistakenly attack the wrong London. In a run of bad luck, five years previously London suffered an outbreak of Cholera, and not long after, a fire destroyed much of the town, which was then largely constructed of wooden buildings. One of the first casualties of the fire was the town’s only fire engine. Bummer, should have seen that one coming.
London, Ontario landmarks included Blackfriars Bridge, Crystal Palace Barracks, the district of Kensington which was renamed London West. The headquarters of The Royal Canadian Regiment remains at Wolseley Barracks on Oxford Street. London, Ontario is a chilling doppelganger of London, England, the place names are the same but everyone has the wrong accent, like an episode of The Outer Limits.
Fast forward to modern international relations. Spurning its long and faithful relationship with Great Britain and The Commonwealth, Canada embarked on a long and steamy affair with France, co-habitating partner of Germany, and co-leader of the European Union, which Great Britain has just left.
All of which goes to show, you just never know who your real friends are, until you find you don’t actually have any.
LJC London – England.
Are any Chico albums worth seeking out? Have I been too harsh on Chico or Gabor? Or indeed, Canada? Thoughts welcome, as always.
UPDATE December 5, 2020: Harry M has the photos, as always, our man was there – Montreux 1971, Chico working up a sweat. Interesting microphones too, everywhere..
Photo Credits: Harry M
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http://www.friendswelove.com/120-seconds-archs/video/chico-hamilton-jazz-legend-120-seconds
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Chico Hamilton, Jazz Legend :: 120 Seconds — FRIENDS WE LOVE
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2009-03-12T13:28:51-07:00
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Jazz legend, Chico Hamilton opens his heart about how he met the love of his life, his wife of 67 years, Helen.
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en
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https://assets.squarespace.com/universal/default-favicon.ico
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FRIENDS WE LOVE
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http://www.friendswelove.com/120-seconds-archs/video/chico-hamilton-jazz-legend-120-seconds
|
Jazz legend, Chico Hamilton opens his heart about how he met the love of his life, his wife of 67 years, Helen.
Chico Hamilton, Jazz Legend :: 120 Seconds from friendswelove.com on Vimeo.
About Chico:
Legendary jazz drummer and bandleader Foreststorn Chico Hamilton, born September 20th, 1921 in Los Angeles, had a fast track musical education in a band with his schoolmates Charles Mingus, Illinois Jacquet, Ernie Royal, Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim & Slam, T-Bone Walker, Lester Young, Count Basie, Duke Ellington, Charlie Barnett, Billy Eckstine, Nat King Cole, Sammy Davis Jr., Billie Holiday, Gerry Mulligan and six years with Lena Horne established this young West Coast prodigy as a jazz drummer on the rise, before striking out on his own as a bandleader in 1955.
Chico’s impact upon jazz includes the introduction of two unique and distinct sounds: first in 1955 with his Original Quintet which combined the sounds of his drums, the bass of Carson Smith, the guitar of Jim Hall, the cello of Fred Katz, and the flute of Buddy Collette; and the second in 1962 with his own drums, the bass of Albert Stinson, the guitar of Gabor Szabo, the tenor sax of Charles Lloyd, and the trombone of George Bohanon.
In 1997, Chico received the New School University Jazz & Contemporary Music Programs Beacons in Jazz Award in recognition for his "significant contribution to the evolution of Jazz". In 2002, Chico was awarded the WLIU-FM Radio Lifetime Achievement Award. At the IAJE in NYC January 2004, Hamilton was awarded a NEA Jazz Master Fellowship, presented to him by Roy Haynes. In December 2006, Congress confirmed the President’s nomination of Chico to the Presidents Council on the Arts. And in 2007, Chico received a Living Legacy Jazz Award as part of The Kennedy Centers Jazz in Our Time Festival, as well as receiving a Doctor of Fine Arts from The New School.
Dynamic as ever at the age of 87, Chico Hamilton has a resume that includes scores for film, original compositions, commercial jingles, 50 + albums as a leader, and countless international tours. In 2006, Chico released four CD’s on Joyous Shout! in celebration of his 85th birthday: “Juniflip” featuring guest appearances from- legendary Love front-man Arthur Lee, criminally under-rated vocalist (and successful actor) Bill Henderson, and former Hamilton band members trombonist George Bohanon and bass trombonist Jimmy Cheatham; “Believe” with Special Guest appearances from vocalist and R & B Diva Fontella Bass and trombonist George Bohanon; “6th Avenue Romp” featuring Special Guest appearances from guitarist Shuggie Otis, trumpeter Jon Faddis, trombonist George Bohanon, vocalist Brenna Bavis and percussionist Jaimoe of the Allman Brothers Band; and “Heritage” with Special Guest appearances from vocalist Marya Lawrence and tromboist George Bohanon. September 2007, Chico released "Hamiltonia" sampling his original compositions from the four albums released in 2006. "Hamiltonia" is an impassioned statement of purpose- an emphatic endorsement of writing and performing THIS music in the NOW, the way the GREATS did in their time, and confirms Hamilton's status as one of the most important living jazz artists and composers.
2008 saw four releases from Chico on Joyous Shout!, two EP’s and two previously unreleased recordings, each of which provide a different perspective on the Chico Hamilton experience. Paying homage to Chico's past, the "It's About Time!" EP revisits his first ever recording project as band leader/percussionist. In 1955, Chico recorded a trio album for Pacific Jazz with George Duvivier and Howard Roberts; fast-forward 53 years, and Chico has recast it with his long time collaborators Cary DeNigris on guitar and Paul Ramsey on bass. Chico's distinctive grooves have been rediscovered and refused on the "The Alternate Dimensions of El Chico" EP, a collection of dance/remix tracks and collaborative works with some of today's hottest turntablists including Fertile Ground, SoulFeast (Joe Claussell and Brian Michel Bacchus), Mark de Clive-Lowe, and Blaze. On "Dreams Come True", recorded in 1993, NEA Jazz Masters Andrew Hill and Chico Hamilton deliver a masterpiece of modern improvised music. The two giants are repositories of the history of this music, and here they create a document containing more then is stored in all the history books, sharing and preserving ancient stories and traditions thru their mutual song. And “Trio! Live @ Artpark”, recorded in 1994, documents a blazing performance from a power trio led by Hamilton, with guitarist Cary DeNigris and bassist Matthew Garrison- the son of the late Jimmy Garrison. Witness the remarkable synergy and energy between the three as Hamilton leads his steeds thru a series of originals and a heady romp on "Tickle Toe".
Over the years, Chico has had a series of dance floor successes, including his signature song "Conquistadors" from his 60's Impulse album "El Chico", and the Brazilian influenced song "Strut" from Chico's 1979 outing on Elektra "Nomad", which became so successful on the Northern Soul Scene in the U.K. that it had its own dance!! "Conquistadors" also was the signature track for E-man when he rocked the dance floor at Frank's Cocktail Lounge in Brooklyn. In 2002 a track titled "For Mods Only" from Chico's 1968 Impulse album "The Dealer", was included on the Thievery Corporations "SOUNDS FROM THE VERVE HI-FI". Fall of 2005, Rong Music released the 12" vinyl “Kerry's Caravan” from Mudd & Chico Hamilton, a moody yet stunning slice of modern music and a molten melting pot ready made for filling the dance floor with remixes from long-term Idjut Boys collaborator and Fiasco imprint boss Ray Mang. The IMPULSIVE! Remix Project features Mark De Clive Lowe’s take on Chico’s classic 60s track “El Toro”. OUT NOW is the limited edition 12" 180 gram vinyl from SoulFeast (Brian Michel Bacchus & Joaquin "Joe" Claussell) with their reworking of "Mysterious Maiden" from Chico's 1980 "Nomad" release, as well as the 12” double vinyl edition of "The Alternate Dimensions of El Chico" CD EP. Available thru www.dopejams.net (sales@dopejams.net).
April 14th, 2009 Chico HITS w/ “TWELVE TONES OF LOVE” on Joyous Shout!. From Maxwell Chandler’s liner notes: “Chico Hamilton looks back not as a summation but with the past as a jumping off point to where he is now; the foundation to build off of what he has to say in the here and now. This album has Chico writing for and playing with an enlarged ensemble, offering us a glimpse of his life’s journey and some of those he has shared it with. It speaks greatly of all the musicians’ skills that they are performing Chico’s compositions yet their interplay becomes another color on his palette, which allows him to further embellish the picture he is painting. This is one of the appealing aspects to all of Chico’s music, an always-organic sense of tension and release. Guest spots include trombonist George Bohanon, who was in one of Chico’s classic sixties ensembles; vocalist Jose James, who studied under Chico at The New School’s Jazz and Contemporary Music program; and multi-reedist Jack Kelso, Chico’s lifelong friend. This album is a celebration of a lifelong romance Chico has had with music and the relationships that came into his life both past and present through his service to the muse. Those who forge their own way may travel a harder road but their art loses none of its power with the passage of time because of these trials. “TWELVE TONES OF LOVE” is proof of that aphorism to continuously enjoy”.
Chico is presently teaching at New School University Jazz Program; touring extensively in North America with "Euphoria" group which includes Nick Demopoulos on guitar, Paul Ramsey on bass, Evan Schwam on flute, tenor and soprano saxes and Jeremy Carlstedt on percussion; recording with his "Euphoria" group and special guests; composing and performing music for film; and working on autobiography.
For more info on Chico Hamilton: www.myspace.com/chicohamilton
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https://raggywaltz.com/2020/02/13/the-chico-hamilton-special-chico-hamilton-columbia-cl-1619/
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The Chico Hamilton Special // Chico Hamilton (Columbia CL 1619)
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2020-02-13T00:00:00
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Marching right along with the special Black History Month celebration, here's an album that I got early in my record-collecting career and one that shows how musically diverse black Americans could be, even in one style of music like jazz. In other words, here's an album from a fellow Californian and musical innovator, Chico Hamilton.…
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en
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It's A Raggy Waltz
|
https://raggywaltz.com/2020/02/13/the-chico-hamilton-special-chico-hamilton-columbia-cl-1619/
|
Marching right along with the special Black History Month celebration, here’s an album that I got early in my record-collecting career and one that shows how musically diverse black Americans could be, even in one style of music like jazz. In other words, here’s an album from a fellow Californian and musical innovator, Chico Hamilton. To the music!
The Music
The Tune: “Don’t Get Lost”
The Tune: “New Rhumba”
Recorded: 28 November, 1960 in Hollywood, CA
Personnel:
Chico Hamilton – Drums
Nate Gershman – Cello
Robert Haynes – Bass
Harry Pope – Guitar
Charles Lloyd – Alto Sax & Flute
1960
President Eisenhower signs the Civil Rights Act of 1960, which is supposed to strengthen and address loopholes in the Civil Rights Act of 1957. Many states and the entire South continue to bar black Americans from voting anyway.
In Boynton v. Virginia ,the Supreme Court rules unconstitutional the segregation of bus terminals. This sets up the movement known as the Freedom Riders, a mixed group of Americans that tested this ruling the following year.
That black Americans should be at the forefront of every stylistic permutation of jazz shouldn’t be a surprise, yet when you sit down and think about it, there was a black person involved at each and every turn. Take Chico Hamilton, for example. In spite of West Coast ‘cool’ jazz being known as ‘white’ jazz, Chico was at the epicenter when Gerry Mulligan tapped him to be the drummer in his quartet with Chet Baker in 1952. This piano-less group of course went on to become a national phenomenon and launched the West Coast sound. In fact, Mulligan’s quartet was the first group recorded by an indie record label on the West Coast named Pacific Jazz. Pacific Jazz went on to be a major conduit by which West Coast jazz was released. That album, Pacific Jazz’s first, prominently featured all four of the Gerry Mulligan Quartet’s smiling faces, together and in close proximity (released two years before integration was officially legal).
In 1955, Chico Hamilton formed what would be the most signature West Coast-ish jazz group of all time. Retaining Mulligan’s piano-less idea, Hamilton built a band with a bass, a guitar, a sax (or flute or clarinet depending on the tune), and… a cello. This unorthodox instrumentation (for a jazz group) took the country by storm, and two years later Hamilton’s group was prominently featured in the Tony Curtis/Burt Lancaster movie ‘Sweet Smell of Success’. Chico Hamilton was a big deal and a persistent example of black excellence in a generally anemic chapter of jazz’s history.
When Hamilton first formed his group, it was more of a chamber music type of group, playing heavily arranged dainty charts with limited space for out and out blowing. By 1960, Hamilton was moving in a more progressive, edgy sound. Enter this album.
Recorded in the fall of 1960, this edition of the Chico Hamilton Quintet swings extrovertedly and firmly. Much of this has to do with soon-to-be-famous reedman Charles Lloyd, in addition to streamlined arrangements and increased blowing. Lloyd wails on his alto sax and even on his flute manages to bring some grit to the music. The cello plays a more supportive role on this album, used to full effect to add color and texture to the proceedings. Dig it’s singing lines and elegant accents in “New Rhumba” or it’s hip work in the album opener “Don’t Get Lost”.
The inclusion of “New Rhumba” (written by Ahmad Jamal) and “Lady Bird” (written by Tad Dameron) is largely why I bought this album, but the whole record has moments of excitement. “Don’t Get Lost” is a jaunty minor blues that sounds like something that would play while Perry Mason walked moodily down the streets of Los Angeles at night in the rain. Two-thirds of the tune features Lloyd’s cool then fiery alto sax, followed by laid-back and breezy guitar solo by Harry Pope, complete with rich chords. Hamilton’s drumming is tasty and firm, nudging everything along without being pushy. One of my favorite aspects of his drum style is his tendency to be felt more than heard. Other than a rare drum solo, he largely stays in a supportive role- a rarity in drummer-led groups.
The rest of the music continues to highlight either Pope’s guitar or Lloyd’s sax/flute. “Autumn Leaves” largely features Pope, with some haunting vocal work by Hamilton in tandem with Gershman’s cello, while “Lady Bird” is a succinct, ultra-cool thing featuring the string section. That is, guitar, cello, and bass only.
I own quite a few Chico Hamilton records, and this one is probably my favorite. Caught between his relatively conservative early years on Pacific Jazz and his increasingly avant garde music on Impulse in the 60’s, the music on the grooves of this LP strikes a perfect balance between the two worlds. But don’t take my word for it. Listen to the two cuts above and hear for yourself!
The Cover
Raggy Waltz Rating: B
I really don’t have much to say about the artwork. It’s a great shot of Mr. Hamilton in striking black and white. But boy is that a busy front cover. From liner notes to song titles, there’s a lot going on. So much so that…
The Back
I have never read these liner notes in one sitting. In fact, now that I think about it, I don’t believe I’ve ever read them in their entirety. These may be the most copious set of notes ever to appear on a Columbia album, and considering the amount of stuffy prose that has graced their many classical music albums, this is quite an accomplishment. The bits that I have read however point to an interesting and enjoyable hour or so of reading. 4 stars for content, 2.9 stars for amount of content.
The Vinyl
Ah, Columbia’s classic 6-eye labels, at once both delightfully retro yet strikingly modern. This familiar (and oddly comforting) label design graced turntables from the mid-1950’s thru to the early 1960’s. Despite “hi-fi” being plastered on every record cover, very few record labels made records with truly high fidelity sound. Columbia was one of the rare examples of truly hi-fi sound, and in the 1950’s their 6-eye labels were a sign of audiophile listening.
My copy is a delicious first press in Columbia’s punchy mono. If I’m being honest and truly objective, my most life-like records in my collection are on the Columbia label, and if I’m being brutally honest, the best sounding mono records in my collection are on Columbia. Specifically, Columbia’s mono records from the late 1950’s and the entire 60’s are stupendous. Even if they weren’t recorded in their 30th Street Cathedral Studio, like this album, Columbia knew how to record music. With this album in particular, the engineers somehow managed to make it sound like it was recorded late at night. Maybe it’s the intimate closeness of the music (Lloyd’s flute and alto in particular) coupled with the sibilant splashiness of Hamilton’s cymbals, or even the overall haziness of the recording, but I just can’t see this music being made on a hot sunny day.
The Place of Acquisition
When I came back home for the summer of 2015, I headed to the new record store in town, a place named, appropriately enough, Redlands Vinyl. Walking in that rainy day, I discovered this record in the jazz section. I was shocked because I didn’t know Chico Hamilton had recorded for Columbia. Seeing “Lady Bird” and “New Rhumba” on the cover (as well as the amount of liner notes), I grabbed it. The vinyl looked great, the price was great ($10), and since I was in Southern California, it just seemed right to buy a fellow Southern Californian’s record. I’m glad I did.
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https://store.everythingjazz.com/collections/2024-june-big-beat-sale/products/chico-hamilton-the-dealer-lp-verve-by-request-series
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Chico Hamilton: The Dealer LP (Verve By Request Series)
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Impulse!, 1967 Led by drummer and bandleader Chico Hamilton, The Dealer features appearances from Archie Shepp, Charles Lloyd and, notably, the recording debut of guitarist Larry Coryell, who lends a bluesy edge to a solid and mellow soul-jazz outing. Tracklist & Credits - 1LP Side A The Dealer For Mods Only A Trip
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https://www.inthetrove.com/ron-carter-interview
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Arranger. Educator. New York, NY — The Trove
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The Trove
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https://www.inthetrove.com/ron-carter-interview
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In February 1937, Ferndale, Michigan saw the opening of the “fancy” Radio City Theater, a boost during the Great Depression that would provide cinematic entertainment to the community for the next forty years. On May 4, in the rural “black” part of town, the fifth of Lutheran and Willie Carter’s eight children was born. His birth heralded a talent who would share his musical gifts for more than fifty years through performance, recording and teaching; an artist who would immeasurably impact the jazz canon.
Ronald Levin Carter recalls the dusty roads of his proud neighborhood where James Weldon Johnson’s “Lift Ev’ry Voice and Sing” was the anthem of note. “The Star Spangled Banner” was just “some ballgame tune on the radio.” The course of his life was set in 1947 when his mother learned that the local Grant School received an array of musical instruments. She told her children to each pick one. Ron grabbed a cello and his sister Sandy a bass (they would for a time play cello/bass duos around town.) The reserved Ron realized that with his aluminum cello, he could make an aggressive sound, offering him a “voice” that countered his innate shyness. Even though all the Carter siblings played a musical instrument, Ron alone took it to “this extreme that I am going through,” he laughs.
He acknowledges that he has a God-given talent, but honing his craft, mastering his instrument has been the result of years of dedication and concerted effort. He rejects the notion of genetic musicality frequently heaped upon artists of African descent; he finds it reductive. If he’s reached the pinnacle, it’s not because of some magical negro gene, but the fruition of his labors.
The “Carter kids” had usual chores and responsibilities around the house, but Ron began generating income early on with a 300-customer newspaper route while in junior high school. He took his commitment to the work very seriously; when Michigan winters prevented his standard bicycle delivery, he took to the snow by sled. He was able to pay for his own lessons and buy charts, critical in a large family with limited financial resources. Even so, his parents encouraged his pursuit of musical excellence. When not sequestered in solo practice, he performed with his siblings in a family string quartet for his delighted father. While other children listened to popular tunes of the day, Ron was listening to the Bach Cello Suites. By ninth grade, he earned first chair cello at Lincoln High School. Tall and fit, he did a toe-dip in sports but realized that neither basketball nor baseball was “emotionally active enough” for him. Whereas playing music required a concurrent trinity of physical, technical and emotional activity.
Lutheran Carter was, according to Ron, “a great mathematician” limited by era and circumstance, but his integrity was unparalleled and his work ethic strong. With ten mouths to feed, he accepted a job as a Detroit bus driver; packing up Willie and the kids for the Motor City. He built the family home himself, grew some of their food and took on three jobs if need be to keep his family afloat. As he was able, he helped neighbors as well. He was committed to family and community. “We had a spare lot next door,” Ron remembers, “and wintertime in Detroit was brutal; each year my father would put a skating pond out there for the neighborhood.” By his example, Lutheran’s principled and discerning youngest son grew into honorable manhood. Never falling prey to the rapscallion antics of some of his peers, he has built a reputation for responsibility and accountability for his actions– he’s a solid, upstanding cat.
Ron entered Cass Technical High School, the highly-regarded Detroit public prep school in 1952. “You had to audition to get in, pass an exam and maintain a certain grade level to stay there,” he says of his alma mater. “It was like a junior college. Music students had to be in everything: I played alto clarinet in the band; tenor saxophone in the marching band; sang in the choir, man, it was a complete music program.” (He also played the violin, trombone, and tuba.) When he first attended the Detroit Symphony Orchestra, he was blown away by the magnitude of the space as well French guest cellist Pierre Fournier’s performance of Dvořák “Cello Concerto in B Minor.” Ambitious and driven, the budding classical cellist gave up the time-demanding paper route for odd jobs like Simonizing cars on weekends to continue to fund his music needs. He got the occasional gig performing at socials but realized those jobs came far more frequently for his white counterparts. Theoretically, in the protective bubble of Cass Tech, musical proficiency knew no color; one could excel on merit. But beyond its gates, Detroit’s racial polarity reared its bigoted head, infiltrating the bastion of musical equality and disclosing the inequity to the determined young musician.
When bassist Paul Chambers left Cass early to launch a career in New York City in 1955, Ron saw an opportunity. As the only bassist, he couldn’t be passed over because of race “Paul left open a bass chair, so I filled it.” The learning curve was steeper than he’d expected but with typical drive, he immersed himself in learning his new instrument. And he soon discovered a new revenue stream, one which would require the Bach-fiend to play jazz. “In those days, all the frat houses had jazz bands play on the weekends,” he recalls. The high school senior learned a new music library and a different approach to playing, using work as an extension of his schooling. He came to understand the vast gulf between several orchestral bassists playing in unison and the singular heft required of the bass player in jazz, as well as the speed differential of both genres. He explains in his biography Finding the Right Notes, by Dan Ouellette, “I’d been practicing classical my whole life, so I understood scales. I studied harmony and theory at Cass, so I wasn’t a stranger to how a jazz band played harmonically. I played Bach chorales for orchestra, but we played those in half the speed as a jazz tune. I had to acquire a language for playing faster tempos with jazz. The bass lines themselves weren’t complicated but because they came faster than I was used to. I couldn’t think quickly enough to play the right notes that would work.”
On-the-job jazz training aside, he still dreamed of an orchestral career and successfully auditioned for the prestigious Eastman School of Music in Rochester, NY where he received a four-year scholarship for classical bass. In March 1958, he met Syracuse University student Janet Hasbrouck. On June 7, 1958, they married. Retrospectively he jokes that it was “the atomic age.” That Fall, the school established The Eastman Philharmonia with Ron garnering first chair double bass. Life was looking sweet.
The scholarship was a boon, but it didn’t cover everything– “you gotta buy clothes; you gotta buy strings; you gotta eat.” Gigging around at jazz spots like the Pythodd or Ridgecrest Inn helped him remain “financially solvent.” He worked with a local trio as the backup band for touring artists like Sonny Stitt or opening for big acts like Horace Silver Quintet, Dizzy Gillespie’s band, Carmen McRae and Oscar Peterson.” Once again, he delved in, learning by immersion. “They assured me that New York welcomes guys who can play,” especially a good bass player, said Sonny Stitt–advice Ron would rely on when racism once again threatened to dash his dreams.
As a member of the Eastman-Rochester Philharmonic, dressed proudly in “vest and tails,” he garnered accolades from guest conductor, Leopold Stokowski of the Houston Symphony Orchestra. Stokowski, however, told him in hushed tones that the board of directors simply was not “ready for a colored man to be in their orchestra.” As Ron retells the story, a hint of the sting is there, a glimpse of that crestfallen young man, long before he carved an exemplary, multi-decade career. One that places him solidly in the pantheon of jazz masters.
With quiet resolve, like his father before him, he adjusted to circumstance and moved ahead–to New York City. The year, 1959, a seminal year in jazz. Drummer Chico Hamilton saw the potential in Ron’s playing; liked his cool vibe and good manners, essential on what was to be a lengthy tour, and hired him. Of that first road experience, Ron says, “it was free school for me just by playing every night. It was an education on taking taxes out my pay, per diem, publishing rights, rehearsals, how bass drum works, ins and outs, do’s and don’ts. It was a great time; eight months.”
Ron then enrolled, on scholarship, in the Master’s program at the Manhattan School of Music. “They didn’t have jazz at the time but had a great theory department, and a great orchestra. It was an opportunity for me to maintain my classical skills and learn another view of composition.”
Juggling classes by day and gigging at night, he finished the program in a year. He entered yet another intense period of learning-by-doing with performances, session work, and touring Europe with “Cannonball” Adderley. He learned about navigating the jazz life from every leader he worked with from Chico and Cannonball to Randy Weston and Bobby Timmons. “It was a good time for me to keep my mouth shut and my ears open,” Ron recalls. He gives props to Bill Lee for paving the way for him to work in yet another genre, folk. “Bill Lee is great bass player and a fabulous writer.” As “King” of folk bassists, Lee was in such high demand, he couldn’t take on all the offers, so Ron took up the slack while learning things he might not have through jazz. With Ron, every opportunity is a teachable moment, whether to him or through him.
Probably the single most influential musician on his approach to playing is not another bassist, but rather the trombonist JJ Johnson, whom he observed over the course of a week-long club date. JJ seldom moved the slide beyond the bell of his horn yet had full command of the notes. It was a revelation. Ron realized that he too could play economically; playing the same notes horizontally that he can play vertically. Maximum results with minimum physical effort.
He completed his master’s studies and recorded his first album as a leader, 1961′s Where? for Prestige Records with his former Hamilton bandmate Eric Dolphy. The following April, as he kicked it with his friend Kareem Abdul-Jabbar on a Harlem basketball court, he got word that it was “time.” Janet gave birth to their first child, Ron Jr. (R.J.) The new papa kept a buzzing work schedule.
In March 1963, just shy of RJ’s first birthday, Ron accepted a gig with Art Farmer’s new band. After a set at the Half Note, Miles Davis, looking to reboot his disbanded quintet, approached Ron to become its first member. Honoring his previous commitment, Ron respectfully declined. If Miles wanted him, he’d first have to secure the blessing of Art Farmer, who by-the-way, gave it graciously.
Though there were audible groans from early audiences when he took the bandstand with Miles, Ron once again ably filled space vacated by Paul Chambers. After some West Coast dates and personnel changes, Miles had Ron, Herbie Hancock and 17-year-old drummer Tony Williams meet at his 77th Street home. In his rec room, Miles played a few notes and excused himself, leaving the musicians to chop it up on their own as he, unbeknownst to them listened in via intercom. A few days like this later, a smoking rhythm section emerged. With the addition of Wayne Shorter on sax in 1964, the celebrated second great Miles Davis Quintet was born with Ron as Miles would say, as “anchor.”
Anchor. Meant as the penultimate compliment by Miles and the countless others who bandy it about in reference to Ron's contribution to the seminal 60's quintet, the word ruffles the bassist's semantic feathers.
“You ever see an anchor? It’s down at the bottom, rusty. No one knows it’s there; no one gives a shit that it’s there, holding the boat back. Anchor of the band? That means the band’s not going anywhere. That’s not what I do, man. My job is to knock your socks off. An anchor is dead weight; it’s corroded. If you want to think of me as an item, think of me as a nice guy who wears great ties and plays bass, I can live with that,” he laughs. A more apt analog, he contends is, “the bassist is the quarterback in any group, and he must find a sound that he is willing to be responsible for.”
Ron’s responsibilities within the group expanded beyond sound. Known for his honesty and reliability, he became the straw boss, managing payments to the band. But by 1968, Miles was going electric, baby Myles had joined the family, and Ron was neither interested in plugging in nor spending time away from his children. An era was over.
That’s not to say that he never picked up the electric bass. Monk Montgomery first recorded on the Fender in the early fifties with Lionel Hampton’s band. By the next decade many New York session double bassists--Steve Swallow, George Duvivier, and Ron included--were picking them up as well. They would carry both electric and acoustic instruments to sessions; prepared for whichever direction a producer might take. It’s Ron’s basslines that intro the funky paean to New York’s most populous borough, Roy Ayers Ubiquity’s oft-sampled “We Live in Brooklyn Baby.” But ultimately he made a “conscious choice” not to double-dip. He was committed to family and as is his wont, playing a new instrument, would require going all in. He simply didn’t have time for another steep learning curve. He was content to master the acoustic and ultimately gave the electric to his son RJ, who by-the-way, now plays electric bass professionally.
The incredible output of those five years with the Davis quintet is certainly a career highlight, but only one of many. In the nearly fifty intervening years since he’s become the most recorded double bassist in history. With greater than 2,000 recordings to his credit, he has recorded either as a leader or a sideman at least once each year hence. Unsurprisingly, the prolific session player has graced a robust number of impressive releases from his comrades in jazz. His contributions, however, cross genre boundaries from overdubs for Jefferson Airplane to laying it down on Tribe Called Quest’s “Verses from the Abstract.” Aretha Franklin. Phoebe Snow. B.B. King. Bette Midler. Billy Idol. Erykah Badu. Grace Slick. Jessye Norman. Paul Simon. They are but a few. For the Red Hot series fighting AIDS through pop culture, he partnered with MC Solaar on “Un Ange en Danger,” in 1994 for Stolen Moments: Red Hot + Cool. In 2014, he partnered with Gary Bartz on “Cello Suite No. 1 for Red Hot + Bach"
With an unwavering commitment to students, he has served on the faculties of the Manhattan School of Music, the Music Department of City College of New York (now Distinguished Professor Emeritus) and Juilliard Jazz. Managing his touring schedule around his teaching schedule, he would fly back from a gig anywhere in the world to arrive on time for class. He still gives private lessons in his home to a select few. Recipient of an honorary doctorate (one of a few) from Berklee College of Music in 2005, he gave the commencement speech and quipped “I am a retired schoolteacher, working on weekends.”
On a stellar Wednesday night in June 2007, he took the stage at Carnegie Hall dressed in an Issey Miyake tuxedo for a four ensemble performance in celebration of his 70th birthday. The set opened with his fellow Davis quintet alums, Herbie Hancock and Wayne Shorter with drummer Billy Cobham. Sans brass, he moved on through his duo with Jim Hall; his Golden Striker Trio; and rounded out the evening with the “Dear Miles” quartet (Stephen Scott, piano; Payton Crossley, drums; and Rolando Morales-Matos, percussion.) With these groups, he’s demonstrated the viability of the bass as the lead, coming “out from behind the palm tree” with such dexterity and presence that the horn is never missed. His drummerless trio subverts the traditional conception of the jazz trio as piano, double bass, and drums. His is a mission to continually expand the canon and the breadth of his instrument’s role in it.
He continues to work with his various ensembles, touring domestically into the Spring. He’ll take the trio to Zurich in May. He will on occasion, perform with other respected leaders. In late January, he and drummer Lenny White kicked the rhythms with the Wallace Roney Quintet. By the time he took his hauntingly beautiful solo, “You Are My Sunshine” in the late set, he appeared as crisply elegant in pinstripes as if he’d just gotten dressed. He clearly has gotten the maximum performance/minimal exertion thing down. He’s had trainers and orthopedic doctors observe his movements in performance and even in transporting his instrument to understand the requirements of the body in what it is he does so that they can suitably advise him.
The late hours of a jazz musician caught up to him one Sunday in the early aughts during a church service. The lovely Quintell Williams, who typically sat in the balcony, took a seat in the main nave. Much to her dismay, the sermon was punctuated by the snoring of a sleeping man seated next to her in the tiny pew. With a gentle elbow nudge, she asked, “So where were you last night that you can’t stay awake in church?” Humbled, Ron apologized profusely, explaining that he was a musician, and that he had performed the night before. After the service, he invited her to hear him play at Iridium. Which she did. Taken by the warmth of the hug he gave her in thanks, she consented to see him again. They soon discovered they were both Detroiters from large families with similar values, had attended Cass Tech, liked vintage cars, great clothes (she’s a terrific tailor and seamstress) and each other. The widower and the former model married on July 25, 2012. Mrs. Carter says of her husband, “He’s very funny, extremely kind and he’s sensitive. If he comes across as stern, that’s only because of how he feels about the music.” His is a lifelong quest to find those right notes.
He feels very strongly about the need for arts education and access. Just as he was introduced very early on to the wonders of musical possibility, he strives to do the same for succeeding generations of children. Launching the Finding the Right Notes Foundation last May, he enlisted the expertise of artist, writer, and arts administrator Danny Simmons. “People are transformed by the arts. That’s why I’ve joined with Ron on this. It’s so important that he’s [Ron] leveraging his notoriety to make a difference for people who might not have that opportunity if not for what he’s doing,” Simmons said at the launch. Singer/songwriter Renee Neufville is aboard as a brand ambassador, and the immediate goal is to enlist more artists and performers to join them as they advocate for arts engagement in the schools.
Ron recalls the New York Philharmonic’s annual concerts at Abyssinian Baptist Church. “My image of it is there are four buses outside with the motor still running. Folks inside play the concert and before the last note drops, they pack up, get on the buses and come back home.” In his estimation, it should have been much more interactive. “Have the concerts early enough in the day. Let the kids get in there, walk around the orchestra. Let them see what goes on. Let them put their hands on a violin and see what that does,” he says emphatically. “I’m trying to fix that with this foundation.”
He is certain that parental engagement and commitment will be crucial to the success of their programming. “Once a child expresses interest in the arts we hope to be able to nurture it,” he says. “But my hope is that the parents will be enthusiastic about their children showing interest in music such that they are willing to practice for an hour every day in lieu of what they would normally do with that time.”
Though the Detroit-based Sphinx Organization, which advocates for diversity in the arts, has since its 1990’s inception seen the numbers of Black and Latino orchestra members double, the numbers are still woefully small. Today they comprise a little more than 4% as opposed to the earlier 1.5% of all orchestras in the country. Just a drop. These numbers raise Ron’s ire. “Start in 1950, look at the orchestra. Then look at ten year periods; look at the number of black faces. I get indignant when I look at these schools turning out these string players for a job that doesn’t exist for them.” He considers his personal experience. “The slights. We like to think we’ve gotten inured to them, that they aren’t so tough anymore.” Hardly. Along with his mighty musical legacy, he hopes to leave a world more just than the one he has inhabited. As a man of integrity, of course, Dr. King’s “content of their character” resonates with him. As an artist, he might add judged not by the color of their skin but by the commitment to their craft.
Finally, the TROVE of the most recorded bassist in jazz history/bandleader/composer/arranger/educator/author/family man, Mr. Ronald Levin Carter…
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN. From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians…
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CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians of his generation. Chico could hold is own alongside Charlie Mingus, Illinois Jacquet and Dexter Gordon. After high school, Chico was a member of Lionel Hampton’s band, where he played alongside fellow Los Angeles’ native Dexter Gordon. Not long after that, Chico made his recording debut, as Slim Gaillard’s drummer. During that period, where Chico was the resident drummer in Billy Berg’s nightclub. Unfortunately, just as Chico Hamilton’s career was taking off, he had to spend four years in the US Navy.
Between 1942 and 1946, Chico Hamilton has to spend four years in the US Navy. Like so many musicians, their careers were interrupted by the war years. These were four years they’d never get back. So when Chico came out the Navy, it was a case of making up for lost time. That’s when Chico’s career began. Within a few years, Chico Hamilton went from sideman to bandleader at Pacific Jazz. That’s where he recorded the tracks that can be found on Chico Hamilton With Paul Horn, which was recently released by Boplicity, a subsidiary of Ace Records. Before I tell you about Chico Hamilton With Paul Horn, I’ll tell you about Chico’s career.
After leaving the Navy, Chico played alongside Count Basie and was a member of Lester Young’s studio band. Not long after that, Chico joined forces with Charlie Mingus and Dexter Gordon. They knew each other well and were a potent partnership. Soon, Chico was getting calls to work with some of the biggest names in music, including Wardell Grey, Nat King Cole, Lena Horne, Sammy Davis Jr. Then as the forties drew to a close, and a new decade dawned, music changed.
Miles Davis’ seminal classic Birth Of The Cool, which was released in 1949, proved a game-changer. It heralded the birth of West Coast Jazz. Featuring a band that included saxophonist Gerry Mulligan, Birth Of The Cool’s importance can’t be understated. The effect it had, sent shockwaves through music. By the early fifties, bebop was no longer King. Replacing it, was the West Coast Jazz. This would prove a crucial development in Chico’s career.
In 1952, saxophonist Gerry Mulligan hired Chico as a member of the Gerry Mulligan Quartet. Featuring trumpeter Chet Baker, bassist Carson Smith, saxophonist Gerry Mulligan and Chico on drums. They recorded for two of the newly founded labels, Pacific Jazz and Fantasy. For the next few years, the Gerry Mulligan Quartet were one of the finest purveyors of West Coast Jazz. Chico’s performances were lauded. So it’s no surprise that Chico went from sideman to bandleader in 1955.
Chico Hamilton Quintet was released in 1955, on Pacific Jazz. It featured a rhythm section of Chico on drums, bassist Carson Smith and guitarist Jim. Fred Katz played cello and Buddy Collette clarinet, flute, trumpet and alto saxophone. Critical acclaim, plaudits and praise accompanied the release of Chico Hamilton Quintet. Later in 1955, Chico released another album. Billed as the Chico Hamilton Trio, their eponymous album was released on Pacific Jazz. With the Cool School at the peak of its popularity, Chico was riding the crest of a wave.
During 1956, Chico was just as busy. He was working as a sideman and released two albums. There was also another album from the Chico Hamilton Trio. Then the Chico Hamilton Quintet released their sophomore albums. The Chico Hamilton Quintet In Hi-Fi. By then, there had been changes in the lineup.
Musicians like Paul Horn, Eric Dolphy and Howard Roberts all came and went. Despite the changes in lineup, the quality never suffered. Still, Chico was one of the golden boys of the Cool School. The eight tracks on Chico Hamilton With Paul Horn were recorded during this period. When West Coast jazz was no longer the musical flavor of the month, Pacific Jazz sold a number of unreleased tracks to Modern Records. Chico Hamilton With Paul Horn was released in 1963, on Modern Records’ Crown Records imprint. That was still to come. Chico had one more year left at Pacific Jazz.
1957 saw Chico working just as hard. He accompanied Tony Bennett, Fred Katz, John Lewis and Corky Hale. The Chico Hamilton Quintet released their third album, Pacific Jazz Presents. It was released on Pacific Jazz, and would be the last album he’d release for West Coast. Between the release of Pacific Jazz Presents and Chico Hamilton With Paul Horn in 1963, Chico would drift from label to label.
During the next five years, the Chico Hamilton Quintet released albums on World Pacific, Warner Bros, Columbia and Impulse, where Chico recorded some of the finest music of his career. The Chico Hamilton Quintet made a brief return to Pacific Jazz, releasing The Spectacular in 1962. As for the Chico Hamilton Trio, they released one more album on World Pacific. Chico hadn’t lost his appetite for making music. Whether it was as a bandleader or sideman, Chico was still one of the hardest working musicians in jazz. In 1963, he was about to enter one of the most productive periods of his career at Impulse. The first was at Pacific Jazz, where he recorded the eight tracks that became Chico Hamilton With Paul Horn.
Chico Hamilton With Paul Horn features eight songs were recorded over several sessions. This includes a quartet of tracks penned by Fred Katz, Pluck It, Katz Up, Crazy Cats a.k.a. Classical Katz and Lord Randell. Bassist George Duviver wrote Porch Light and Autumn Landscape. Lolly Pop was written by Chico and Gerald Hamilton with Gerald Wiggins. These tracks became Chico Hamilton With Paul Horn.
Very little is known album the lineup that appeared on Chico Hamilton With Paul Horn. Paul Horn only plays on the final four tracks. Bassist George Duviver is joined by either Jim Hall or Howard Robbins on guitar. They’re joined by Chico on drums. Chico Hamilton With Paul Horn is an enthralling insight into the music of Chico Hamilton, one of jazz’s finest drummers, which I’ll tell you about.
Opening Chico Hamilton With Paul Horn is Porch Light. Chico’s drums and George Duviver’s bass drive the arrangement along. George leaves spaces, Chico fills them. Above them is a cinematic guitar solo. Shakers are ever-present adding an atmospheric sound. Soon, it’s time for the solos. Everyone gets the chance to showcase their skills. It’s George’s bass and the guitar that steal the show. If I’d to choose between the two, the mesmeric guitar solo comes out on top. If only we knew who they were?
Autumn Landscape has a pensive, wistful sound. The guitar is at the heart of the arrangement. It provides a melancholy sound, one whose beauty tugs at your heartstrings. Rolls of bold, dramatic drums from Chico open the track. Then when the guitar enters, it’s very different from the previous track. Played with power and aggression, experimental and free jazz shine through. Then it’s all change. The band veer between a more traditional and experimental sound. It’s as if Chico and his band are pushing musical boundaries. Dramatic, bold, melodic, avant-garde and thunderous, are ways to describe this track.
Lolly Pop bursts into life. The rhythm section join forces with the guitar. It’s played at breathtaking speed. Fluid and accurate, you’re enthralled by this mesmeric solo. Somehow, Chico manages to keep up. He plays with brushes, adding crashing cymbals and drum rolls as he adds drama and flamboyance, as he goes head to head with the guitar. Good as Chico’s playing is, he’s overshadowed by some of the best guitar playing on Chico Hamilton With Paul Horn.
Paul Horn makes his debut on Pluck It. He plays clarinet, as the track unfolds in short, sharp and urgent bursts. He joins the bass, which propels the arrangement along. The guitar playing is muted, almost subdued. Later, it’s more like the sound of earlier tracks. Chico meanwhile, is content to let other people take centre-stage. Here, it’s bassist George Duviver and Paul Horn. Their playing veers between urgent, abrupt and fluid on an enthralling track.
Katz Up is the quite different to anything that’s gone before. That’s down to the cello, which ensures the arrangement swings along. It has a scratchy lo-fi sound. Then there’s the clarinet that’s played fluidly. The rhythm section provide the heartbeat, aided and abetted by the guitar. Together they create a swinging track, that occasionally and briefly, heads in the direction of avant-garde and free jazz.
Crazy Cats a.k.a. Classical Katz is a fusion of jazz and classical music. Paul Horn produces his best performance on Chico Hamilton With Paul Horn. He plays a soul-searching solo. Accompanied by a cello, which adds a classical influence, they prove a potent partnership. They force each other to greater heights. Inspiring each other, they play their part in what’s one of the album’s highlights.
Closing Chico Hamilton With Paul Horn is Lord Randall. Heartbreaking, emotive and dramatic describes this track. It has a cinematic quality. That’s down to the cello and flute. They play starring roles, painting pictures. You can imagine Lord Randell preparing to head off to fight in a war. The sombre tones supplied by the cello could well be some tragedy that’s befallen him. The guitar, it adds a melancholy quality, while the bass sounds like an army marching into battle. For over seven magical minutes, Chico and his band create what’s best described as an epic example of musical theatre.
Chico Hamilton With Paul Horn featured eight tracks Chico recorded for Pacific Jazz. Once West Coast jazz was no longer as popular, and the Cool School was out, Pacific Jazz sold a whole host of unreleased tracks to Modern Records. They were released on Modern Records’ Crown Records imprint in 1963. Sadly, Chico Hamilton With Paul Horn wasn’t a commercial success. By then jazz had moved on and Chico was now signed to Impulse, where he’d enjoy one of the most successful periods of his career. However, Chico Hamilton With Paul Horn is an important musical document.
Featuring music that’s variously dramatic, bold, challenging, melodic, melancholy and cinematic, Chico Hamilton With Paul Horn is full of subtleties and surprises. Sometimes, the music briefly heads in the direction of avant-garde, bebop, experimental and free jazz and. Other times the Cool School is back in business. Then on the seven-minute cinematic opus Lord Randall classical music has influenced Chico. Quite simply, Lord Randall is the highlight of Chico Hamilton With Paul Horn. If you close your eyes, Chico and Paul paint pictures. Lord Randall becomes a story waiting to be told or a film to be made. Crazy Cats a.k.a. Classical Katz is another track where there’s a classical influence. It sees jazz and classical music unite seamlessly. These two tracks are just two reasons why Chico Hamilton With Paul Horn which was recently released by Boplicity, a subsidiary of Ace Records is well worth discovering.
Whether you’re a fan of Chico Hamilton, Paul Horn, West Coast jazz or just jazz music in general, then Chico Hamilton With Paul Horn will be a welcome addition to your record collection. Why? Well, Chico Hamilton With Paul Horn features some hidden gems from Pacific Jazz’s back-catalogue and features music from one of the most successful period in Chico Hamilton’s career. During his time at Pacific Jazz, Chico Hamilton had established a career as a pioneering musician who pushed musical boundaries. The eight tracks on Chico Hamilton With Paul Horn are proof of that. Standout Tracks: Porch Light, Autumn Landscape, Crazy Cats a.k.a. Classical Katz and Lord Randal.
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The Chico Hamilton Quintet
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Buy Transfusion (CD) by The Chico Hamilton Quintet (CD $18.98). Amoeba Music. Ships Free in the U.S.
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Amoeba Music
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https://www.amoeba.com/transfusion-cd-the-chico-hamilton-quintet/albums/307821/
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Chico Hamilton Quintet in Hi Fi
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https://en.wikipedia.org/wiki/Chico_Hamilton_Quintet_in_Hi_Fi
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1956 studio album by Chico Hamilton Quintet
Chico Hamilton Quintet in Hi FiStudio album by
Chico Hamilton Quintet
Released1956RecordedNovember 12, 1954, January 4 and February 10 & 13, 1956
Music Box Theatre in Los Angeles, CAGenreJazzLabelPacific Jazz PJ-1216ProducerRichard BockChico Hamilton chronology
Chico Hamilton Quintet in Hi Fi is an album by drummer and bandleader Chico Hamilton, released on the Pacific Jazz label.[1][2] The bulk of album was recorded at two sessions in 1956; a live drum solo was recorded in 1954.
The cover artwork is a photo of artist Vito Paulekas.[3]
Reception
[edit]
Professional ratingsReview scoresSourceRatingAllMusic[4]The Penguin Guide to Jazz Recordings[5]
The AllMusic site rated the album 3 stars.[4]
Track listing
[edit]
"Jonalah" (Carson Smith) - 2:15
"Chrissie" (Jim Hall) - 3:50
"The Wind" (Russ Freeman) - 3:32
"Gone Lover (When Your Lover Has Gone)" (Einar Aaron Swan) - 3:48
"The Ghost" (Buddy Collette) - 5:05
"Sleepy Slept Here (Santa Monica)" (Collette) - 4:08
"Taking a Chance on Love" (Vernon Duke, John La Touche, Ted Fetter) - 4:07
"The Squimp" (Fred Katz) - 1:47
"Topsy" (Eddie Durham, Edgar Battle) - 4:43
"Drums West" (Chico Hamilton) - 4:15
"Sleep" (Adam Geibel, Earl Burtnett) - 2:26
Recorded at Stockton High School in Stockton, CA on November 12, 1954 (track 10); in Los Angeles, CA on January 4, 1956 (tracks 1-5); and at the Music Box Theatre in Hollywood, CA on February 10 & 13, 1956 (tracks 6-9 & 11).
Tracks 1, 3, 8, 11 also released on Pacific Jazz EP4-45.
Track 10 is a 'drum solo feature' for Hamilton, edited from "A Bark For Barksdale" (original running time = 8:24) by the Gerry Mulligan Quartet.
Personnel
[edit]
Chico Hamilton - drums
Buddy Collette - tenor saxophone, alto saxophone, flute, clarinet (tracks 1-9 & 11)
Fred Katz - cello (tracks 1-9 & 11)
Jim Hall - guitar (tracks 1-9 & 11)
Carson Smith - bass (tracks 1-9 & 11)
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https://www.npr.org/sections/therecord/2017/08/23/545611872/john-abercrombie-wry-and-exploratory-jazz-guitarist-dies-at-72
|
en
|
John Abercrombie, Wry And Exploratory Jazz Guitarist, Dies At 72
|
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2017-08-23T00:00:00
|
Abercrombie began forming his style in Boston while attending Berklee in the mid-'60s, eventually helping to redefine the lines between jazz, fusion and rock.
|
en
|
NPR
|
https://www.npr.org/sections/therecord/2017/08/23/545611872/john-abercrombie-wry-and-exploratory-jazz-guitarist-dies-at-72
|
John Abercrombie, an intrepid and deeply lyrical guitarist who made a formative contribution to jazz-rock before refining a judicious, poetic iteration of post-bop, died on Tuesday at Hudson Valley Hospital, in Cortlandt Manor, N.Y. He was 72.
His death was confirmed by ECM Records, which noted that Abercrombie died after a long illness. ECM released Abercrombie's first album, Timeless (1974) as well as his last, Up and Coming (2017); he appears on dozens of other albums on the label, as a leader, a co-leader and a sideman.
"John could go anywhere – rhythmically, melodically, harmonically – at the drop of a hat," drummer Jack DeJohnette told NPR, who maintained a more than four-decade association with Abercrombie. "He had a very warm sound, and always played with sensitivity, dynamics. He could create atmosphere with his comping, and through his great use of space."
Abercrombie was a confident but unassuming artist, whose abundant gifts did not include the knack for self-promotion. He emerged in the immediate wake of electric-guitar trailblazers like Sonny Sharrock and John McLaughlin but, at least temperamentally, he belonged more to the generation a decade or so his junior: cheerful omnivores like Pat Metheny, John Scofield and Bill Frisell.
Abercrombie's music was likewise difficult to fix on a continuum, shifting with ease from pristine acoustic clarity to a synthetic glow, from conflagrant fury to glassy calm. The unifying thread was an alert sensitivity to his musical surroundings, and a willingness to serve the larger whole. To the extent that this was chameleonic, it involved a changing of colors more than shape or form.
Abercrombie often said that he developed his pioneering jazz-rock style out of necessity, lacking available role models. "I had to figure things for myself," he told Ted Panken in a 2012 interview for Jazziz. "I grabbed onto every device I had in my arsenal — my knowledge of harmony and the guitar, the few little fuzztones or pieces of gear that I used at the time — and tried to fit in. When I'd play with Jack and Dave Holland, or some other players, I responded to what I was hearing around me, and let the sound of it all teach me what I was supposed to do."
John Laird Abercrombie was born in Port Chester, N.Y. on Dec. 16, 1944, the son of John Abercrombie and the former Elizabeth Beattie. He grew up in Greenwich, Conn., where he began playing guitar in his early teens, inspired at first by rock 'n' roll and rhythm and blues — Chuck Berry, Fats Domino, Bill Haley.
His first jazz guitar hero was Barney Kessel; the two most influential were Wes Montgomery and Jim Hall. But inspiration came equally from non-guitarists with a lyrical style, like Miles Davis and Bill Evans.
Abercrombie studied at the Berklee School of Music, sharing a room for a time with Jan Hammer. ("He played in a strip joint in Boston," Abercrombie told Panken, "and I'd run down and sit in with him before the strippers came on.") He spent a few years working with the soul-jazz organist Johnny "Hammond" Smith before moving to New York in 1970, where he was soon in high demand as a sideman with drummer Chico Hamilton and others.
Timeless, with DeJohnette and keyboardist Jan Hammer, provides a textbook illustration of Abercrombie's fluidity; from one angle an exploratory entry in the organ trio tradition, and from another a blazing dispatch from fusion's second wave. The album was well received in its time, but has since acquired the patina of a touchstone. (It has also been a popular source sample, notably on tracks by Slum Village, Boards of Canada, and Ab-Soul with Kendrick Lamar.)
John Abercrombie with Dave Holland, "Back-Woods Song"
7:54
Abercrombie's second release for ECM, Gateway, introduced a collective trio by the same name, with DeJohnette and bassist Dave Holland. This group worked more in a searching chamber-jazz mode, but with keen attunement to the then-recent precedent of three-piece rock bands like the Jimi Hendrix Experience and Cream.
Gateway's ringing, wide-open sensibility comes across clearly in the album's opening track, a Holland composition called "Back-Woods Song." Abercrombie's guitar solo provides the central narrative thread, but there's no way to disentangle his ethereal scrawl from the earthier rumblings of DeJohnette and Holland.
Back in Boston while at Berklee, Abercrombie had formed an affiliation with the Brecker Brothers — Randy on trumpet, Michael on tenor saxophone. He rejoined them in a fusion collective called Dreams, featuring Billy Cobham on drums. (He also appeared on several of Cobham's albums.) By the end of the '70s he was ready to move away from jazz-rock's surging center, toward a lighter, more pliable form.
He recorded in a delicate duo format, respectively with guitarist Ralph Towner and pianists Richie Beirach and Andy LaVerne. He also led a series of well-regarded combos, including an excellent trio with Marc Johnson on bass and Peter Erskine on drums. (It occasionally expanded to a quartet with the sterling addition of Michael Brecker.) Abercrombie also revisited the organ trio format, in a group with Dan Wall on organ and Adam Nussbaum on drums.
At some point in the '90s, Abercrombie officially stopped using a guitar pick, choosing to use his thumb as the only plectrum. This change brought out a fuller, more rounded tone in his playing, which suited the music he was playing: a kind of springy chamber-jazz, notably with a quartet that included Johnson, violinist Mark Feldman and drummer Joey Baron.
Abercrombie's last few albums featured the rubbery rhythm team of Baron and bassist Drew Gress, with either Joe Lovano on saxophone or Marc Copland on piano. "Playing guitar and piano together can be problematic, but with John it was effortless," Copland recalled in an email. "We both liked to leave space, and often were rewarded with beautiful chordal washes of color."
The title of this album, Up and Coming, reflects Abercrombie's wry humor, but it also points toward an odd truth, that he was at once revered on his instrument and somehow underrated, or at least overshadowed.
"He should have had even more recognition for his contribution," said DeJohnette. "When you go back and examine it, you can hear that warm, Jim Hall thing, but John definitely developed his own distinct voice on the guitar. He could really come together, adapt to any situation. But always with his own unique voice in the mix."
Abercrombie is survived by his wife, Lisa, whom he married in 1986.
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http://amodernist.blogspot.com/2013/02/the-street-swingers-1958.html
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A Modernist: The Street Swingers (1958)
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The Street Swingers , Brookmeyer/Hall/Raney, World Pacific Records 1239, 1958 A true anomaly in both image and recording locale of th...
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http://amodernist.blogspot.com/favicon.ico
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http://amodernist.blogspot.com/2013/02/the-street-swingers-1958.html
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The Street Swingers (1958)
The Street Swingers, Brookmeyer/Hall/Raney, World Pacific Records 1239, 1958
A true anomaly in both image and recording locale of the Pacific Jazz/World Pacific record catalogue is 1958's The Street Swingers LP. Credited to Brookmeyer/Hall/Raney with Osie Johnson and Bill Crow, it is a session nominally led by valve trombonist Bob Brookmeyer (who also provided the liner notes), but featuring compositions by all 3 of the principles - the other 2 being Jim Hall and Jimmy Raney. It was recorded in New York City on December 13 and 16, 1957 at Coastal Studios with production credited to label-owner Richard Bock. The cover photo was shot by Lee Friedlander. It's all very interesting enough, but is why does this warrant our time today?
Jazz on a Summer's Day opening sequence, filmed July 3, 1958, directed by Bert Stern
For me, the image Bob Brookmeyer is a very primary jazz image. Any time I see a photograph of him or hear his name, something in me recalls seeing him in the opening minutes of Bert Stern's beautiful color celluloid document of the 1958 Newport Jazz Festival. Even if for a moment, I remember being an impressionable 19 or 20 year old kid, eager to learn more about jazz and being captivated and confused by Jimmy Giuffre's trio - which seemed to be both hip and square at the same time. Brookmeyer looked more like a U.S. Naval officer with his cropped haircut and aviator glasses - but filtered through an Ivy League lens and playing challenging but funky (yeah that's right, I called him funky) modern jazz. At the time my modest jazz record collection consisted of the basics - Miles, Monk, Coltrane, and a smattering of organ-centric Blue Notes - but here was this lanky, kind-of-goofy-looking white cat ushering me down a whole new path.
Bob Brookmeyer, unknown (possibly Lee Konitz), Bill Crow, Jim Hall, Jimmy Raney, c.1957, photo by W. Eugene Smith
So needless to say, when I spied Brookmeyer in the corner of a W. Eugene Smith photo featured in Sam Stephenson's The Jazz Loft Project book (which I mentioned a couple of weeks ago), it resonated in some subtle way. And of course, seeing Bob engaged in a jam session with two guitarists that I have been paying more and more attention to over the past year and a legendary bass player with whom I have had the pleasure to exchange a few emails, I became more and more intrigued by the candid photograph. There is certainly a feel to The Street Swingers that could only come about due to the collaborative musical experimentation that can result in the best of casual jam sessions. The LP doesn't feel like a Prestige-styled blowing session or a over-formal presentation of compositions that one might find on a Capitol Records disc. The music exists somewhere between those extremes. I began to suspect that the two recording sessions perhaps may have come as a result of the Sixth Avenue sessions.
Brookmeyer, Hall, Raney, 1957, photo by Lee Friedlander taken from the rear of the LP sleeve
After doing my basic due diligence and re-aquainting myself with the LP, I reached out to bass player Bill Crow. Bill is not only featured in the Smith photo but also on the World Pacific LP. As I did not know the exact date of the photo, I was curious how the Sixth Avenue loft fit into the story. Crow was kind enough to respond to me:
Raney and Hall played together at the loft several times, and Brookmeyer and I were there a lot, too. The two Jims would often be plugged into the same amplifier, since there was only one at the loft. Jim Hall had come to NYC with the Giuffre trio, with Jim Atlas on bass. When Giuffre found that Bob was available, he replaced Atlas with Brookmeyer.
Bill went on to tell me, "We were all living in Greenwich Village at the time, and hung out a lot together. The album was probably Bob's idea." Brookmeyer had an existing relationship with label-owner Dick Bock having had appeared on a number of Pacific Jazz sessions as both a sideman and leader before December 1957. Hall, too, had done a similar number of sessions for Bock in both roles, perhaps most notably the first Chico Hamilton Quintet LPs as well as Hall's debut disc under his own name. Brookmeyer and Raney had a history of collaboration stretching back over several years and several sessions. And Crow, of course, was a big part of the New York scene at the time.
Lee Friedlander, 1960, photo by William Claxton
One final curious detail is that of the cover photograph. I suspect most who are in interested in 20th Century photography are familiar with Lee Friedlander. And while the cover has a great Winter in New York City feel, it is far from typical Friedlander, as it is not only in color but very much a posed portrait. At the time he was still 6 years away from his first solo museum show and the notoriety that came with it. At the time, he was a commercial photographer who shot a fair number of musicians particularly due to his association with New York's Atlantic Records as a house photographer starting in 1956. The World Pacific one-off gig very likely came about as the result of his friendship with Bock's main-man behind the camera William Claxton. Clax and Lee were good friends, the latter even served as the former's best man at his 1959 wedding to Peggy Moffitt that took place in NYC. As a footnote, when I mentioned how evocative the "street scene" of the cover photo was, Bill Crow corrected me, "Actually, the photo was taken on the roof of the recording studio. Lee wanted more light."
Editor's Note: if anyone knows where Coastal Studios was/is located, drop me a line. I could find only passing references to the facility.
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https://www.last.fm/music/The%2BChico%2BHamilton%2BTrio
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The Chico Hamilton Trio music, videos, stats, and photos
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2024-02-10T00:00:00
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Listen to music from The Chico Hamilton Trio like Autumn Landscape, Buddy Boo & more. Find the latest tracks, albums, and images from The Chico Hamilton Trio.
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Last.fm
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https://www.last.fm/music/The%2BChico%2BHamilton%2BTrio
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https://residence-inn.marriott.com/
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Long-Stay Hotels & Suites
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2019-05-03T16:15:35+00:00
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Enjoy modern, flexible suites with all the comforts of home at Residence Inn. Our long-stay hotels are packed with thoughtful features to maximise your stay.
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en
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Residence Inn
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http://https%3A%2F%2Fresidence-inn.marriott.com%2F
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Explore the possibilities
What you need,
When you need it.
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877
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Chico Hamilton and Euphoria
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2014-03-11T00:00:00
|
Chico Hamilton rose to individual fame in the 1950s with an Eric Dolphy-fired chamber jazz unit, but there was always something angular, something interesting and offbeat happening — even dating back to 1959’s That Hamilton Man, an album dominated by this quiet melancholy. Later, Hamilton’s ever more appealingly abstract styleRead More
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en
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Something Else!
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https://somethingelsereviews.com/2014/03/11/chico-hamilton-and-euphoria-the-inquiring-mind-2014/
|
Chico Hamilton rose to individual fame in the 1950s with an Eric Dolphy-fired chamber jazz unit, but there was always something angular, something interesting and offbeat happening — even dating back to 1959’s That Hamilton Man, an album dominated by this quiet melancholy.
Later, Hamilton’s ever more appealingly abstract style of percussion drove a series of recordings that roved far afield — from the Far Eastern accents on 1989’s Reunion to his first sessions with the aptly named Euphoria in the early 1990s. He never stopped pushing, never stopped exploring new angles, never stopped period. Then, as now on the posthumously released Inquiring Minds, Hamilton operates with a guitarist in place of the traditional keyboardist, thus opening up still more space for improvisational brilliance.
“I always had just the guitar, starting with Howard Roberts, myself and George Duvivier (as part of his mid-1950s trio),” Hamilton told me, in 2011. “Back then, with all the piano players I knew, I didn’t like the way they played. I’ve always found the guitar to be a more melodic instrument. And I like the way it fit in with my instrument. Like most percussionists, I never thought about my instrument being just a drum. I wanted to do more with it, you know?”
Same here. Together with a retooled modern-day edition of Euphoria, Hamilton shows himself to a wonder of ageless, idiomatic propulsion, but at the same the master of taste. Even at 92, he could erupt into a brim-stoned fury, but yet he returns, time and again, to a discreet sense of texture and style. The names have changed over the years — saxist Eric Person and bassist Reggie Washington (from Euphoria’s 1990 debut Arroyo) are succeeded here by Evan Schwam and Paul Ramsey, respectively — but not the steady presence of the now-sorely missed Hamilton.
You get the sense of Hamilton’s ceaseless enthusiasm for life on the samba “Joy of Spring,” and — after a switch to mallets — his awareness that time was shortening on “Tone Poem.” And yet, there is no give in Hamilton, no slide into depressive rumination. He welcomes back George Bohanon, a trombonist with the early 1960s-era Hamilton Quintet featuring Gabor Szabo and Charles Lloyd, but make no mistake: The aptly named Inquiring Mind is looking ever ahead, never behind. “Gateway to the Inquiring Mind,” featuring a spoken-word meditation from Hamilton, underscores his free-flowing curiosity.
“An original sound is what I am still trying to express with this group — and all of my groups,” Hamilton added, just before Euphoria’s most recent release, Revelation. “Man, all you have going for you is your own sound.”
That he could pull so much out of a group of relative unknowns, so late in life, speaks to that unfailing focus, and to his ability to inspire. Drummer Jeremy Carlstedt, flautist Mayu Saeki and guitarist Nick Demopolous match Hamilton stride for stride on The Inquiring Mind, likely because the ever-focused Hamilton — whatever his advanced age — would have it no other way.
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https://www.facebook.com/CharlesLloydSax/
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://www.jazzatmytable.com/whos-who-in-jazz/
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en
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Who’s Who In Jazz
|
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2020-11-12T03:20:52+00:00
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CHARLES LLOYD: THE GREAT HIPPIE HERO I came across Charles Lloyd at a time in my jazz life when there was no palpable reason for him to be there. My jazz journey was then still in its infancy. I ha…
|
en
|
Jazz Fremantle and Beyond
|
https://www.jazzatmytable.com/whos-who-in-jazz/
|
CHARLES LLOYD: THE GREAT HIPPIE HERO
I came across Charles Lloyd at a time in my jazz life when there was no palpable reason for him to be there. My jazz journey was then still in its infancy. I had traveled musically from New Orleans to Chicago and New York. I was just starting to explore the West Coast of USA. My heroes were mostly described as “mainstream”. I was still a fan of Louis but was paying increasing attention to Buck Clayton, Vic Dickenson and Lester Young. Basie’s band was prominent as was Ellington’s increasingly. I loved Woody Herman. So I was making advances, creeping ever closer to the dreaded bop but yet to take that final leap of faith.
Into this fairly orthodox arena steps Charles Lloyd, so-called hippie hero of the 1960s, very challenging, and, I surmised, only to be assessed with musicians such as Albert Ayler and Archie Schepp. The principal reason Charles invaded my musical space was that I liked the cover of his album “Journey Within” which contained some edited tracks from a live appearance by the Charles Lloyd Quartet at the Fillmore Auditorium in San Francisco early in 1967. It was about as psychedelic as I dared to become in those days, full of colour and featuring a bunch of musicians who you felt were surrounded by a cannabis haze and who should have flowers in their hair. How could I resist?
There were three principal tracks – “Journey Within” took me into the Himalayas with the Beatles with lots of ethereal, sensuous flute, and some wailing, very typical for the period, while I was blasted awake by the belting “Memphis Green”, a rousing blues and R & B inflected tenor sax feature for Charles with fine drumming from Jack DeJohnette. The real eye-opener was Keith Jarrett’s piano solo “Love No. 3”. He played the piano internally – in other words he played the strings of the piano as a harp. Quite extraordinary and way beyond my musical experience at the time. So Charles Lloyd and his Quartet sat among my mainstream and big band heroes and was frequently played to remind myself that I was at heart far out.
Charles Lloyd is still with us, into his early eighties now but still playing regularly with his quartet and quintet. Charles is a child of Memphis who played the blues with B. B. King before heading out to California where he obtained a Masters Degree in Musicology and hooked up with notable West Coast musicians such as Bill Evans, Eric Dolphy and Chico Hamilton whose band he joined. He was then asked to join Cannonball Adderley’s sextet and this provided him with the platform to set up his own quartet with Keith Jarrett, Jack DeJohnette and Ron McLure on bass. That was some hot band!! Their album “Forest Flower” is said to be the first jazz record to sell one million copies. Then for some reason, Charles took himself off into self-enforced retirement, partly because he was conscious of the potential for self-destruction that he had seen among his musician friends. He lived his life in seclusion at Big Sur before being coaxed back to the stage in the 1980s by none other than diminutive pianist Michel Petrucciani who Charles called “the little guy”. There followed a number of highly praised quartet recordings with ECM and he has been on the scene ever since recording and appearing live. Charles Lloyd has always been a spiritual man and sees his music as a service that aims to transcend the troubles of our times. In an interview conducted in 2002 he said:
“They’ve been throwing rocks at each other for thousands of years. It’s an old story. I’m tired of it. If we’d all pull back and look at this small planet and realise that we’re passing through here and for me, man, as a music-maker I’m in service to the Creator. That presence has always been with me, even when I was blown off course and would throw myself up on the roof in those wild days. I was still searching for the truth………….Please understand I’m trying to make a plea for us to wake up and realise we are children of the infinite but you have to work hard to get away from all this hypnosis that happens in the world.”
This quote comes from article on and interview with Charles Lloyd by Duncan Heining titled “All You Need Is Love”, on pages 30 to 33 of Jazzwise Magazine for October 2002.
Amen to that.
THE MUSIC
For a taste of “Journey Within”:
Later Charles Lloyd can be heard here:
THE JAZZ MESSENGERS – BEGINNINGS
I suppose that the Jazz Messengers are among the most well-known of jazz combos and they will be forever linked to the name of Art Blakey. The Messengers bloodied so many bop and post-bop musicians, many of whom went on to become household jazz names in their own right. The Messengers’ line-up was often young and always vital and trail-blazing. But here’s a curiosity. The original Jazz Messengers did not carry Art Blakey’s name. That privilege goes to Horace Silver. It was Horace that put the original Messengers together and he was also the first to take them to the recording studio.
I am indebted to Derek Ansell for his insightful piece on the first five years of the Messengers (Ansell, 2002). He writes that Horace was just beginning to make his way in the jazz world in 1954. He’d recorded a trio date for Blue Note when the saxophonist Lou Donaldson had to cancel a quartet session. Horace took over and recorded with a trio consisting of himself, Gene Ramey (bass) and Art Blakey on the drums. This was in 1952 and 1953. He had been playing piano with Stan Getz and caught the notice of Alfred Lion of Blue Note Records who was so impressed by what he heard that he persuaded Horace to record with horns and to seriously think about starting out as a leader in his own right. Two of Horace’s co-musicians at his recent gig at Minton’s Playhouse in Harlem, Hank Mobley on tenor sax and Doug Watkins on bass were retained for these recording sessions and Alfred asked Horace who else he would like to complete the line-up. Horace asked for Kenny Dorham on trumpet and Art Blakey on drums, never in his wildest dream expecting to get them. Alfred assured Horace that this would be no problem and promptly booked the two to complete the quintet.
The Jazz Messengers were always a collective in the early days. Horace Silver was nominal leader but Art Blakey’s strong leadership was always apparent. It was reflected in the way he played. He had led a group called “Art Blakey’s Messengers” in 1947 for his first recording date for Blue Note, as well as, briefly, a big band called “Seventeen Messegers” so the name was in the ether for some time before the formation of the Jazz Messengers. Horace had been playing with Art Blakey since the early 1950s.
As the original line-up eventually went their separate ways, the name “Jazz Messengers” was retained. The original group minus Kenny Dorham who was replaced by Donald Byrd, recorded an album which was released in 1956 titled “The Jazz Messengers” and over the next two to three years, as the sidemen came and went, the named evolved from “The Jazz Messengers” to “The Jazz Messengers Featuring Art Blakey” and “Art Blakey’s Jazz Messengers” until, when a completely new group emerged in 1958, it was known as “Art Blakey and the Jazz Messengers. This was the group that recorded the big hit “Moanin'” and the group in various forms lasted until 1966. The ten years between 1966 and 1976 were lean years for the Messengers although Blakey kept them going as best he could often in difficult circumstances. There was a resurgence between 1976 and 1990 which saw the Messengers rejuvenated under Blakey’s guidance. This was the period of Wynton and Branford Marsalis and Kevin and Robin Eubanks who epitomised the focus on new, breathtaking talent that had been a feature of the Messengers through the years. “Art Blakey and the Jazz Messengers” stopped playing in 1990 but only because of the death of the revered drummer. Their musical legacy is unparalleled and without the Messengers many illustrious careers may never have started.
Source: The source for this article is a very extensive piece that appeared in the “Jazz Journal” in October 2002 by the jazz historian and reviewer Derek Ansell titled “The Jazz Messengers 1954 – 59: the Early Years” (pages 10 – 16)
THE MUSIC
Horace Silver and the Jazz Messengers (1955), “Room 608” on Blue Note.
Art Blakey and the Jazz “Messengers” (1958). “Moanin'” on Blue Note.
RED RODNEY
Red Rodney is not a household name but bop-fanciers will know him well and others will have come to appreciate him as he emerged from a period of relative obscurity in the 1970s and 1980s. He was an early disciple of Dizzy Gillespie and Charlie Parker who most famously played in Parker’s band from 1949. Arguably, this was Parker’s happiest band.
Red Rodney was born Robert Rodney Chudnick in Philadelphia in 1927 and was on the road at 15. In the mid to late 1940s he played in the bands of Jimmy Dorsey, Gene Krupa, Buddy Rich and Claude Thornhill among others and then was with Oscar Pettiford and Woody Herman. He was with Charlie Parker from 1949 until 1952 but from 1957 until 1972 he played little jazz. He was in showbands in Las Vegas but began to play jazz again seriously in 1972. He returned to new York in 1979 and played on and off for the rest of his life before his death in 1994, particularly with fellow trumpeter and saxophonist Ira Sullivan. (1)
Those are the bare facts. Red’s playing was said to be incisive yet lyrical and his favourite trumpeters were among the great bop stylists – Fats Navarro, Miles Davis, Clifford Brown, Dizzy Gillespie. Red’s nickname came from his red hair and Richard Cook tells us that when Red was with Parker he was sometimes billed as “Albino Red” in order to pass at gigs in the southern states of the USA. He learned the best and the worst from Parker, becoming hooked on heroin which was largely responsible for his jazz absences. He played to raise the funds to feed his habit and in 1972 suffered a stroke. (2) But that also spurred a return to jazz and by the time we reached the 1980s he was relaxed with his own quintet and playing mostly flugelhorn.
There was also a bankruptcy and a spell in jail in the mix but Red was philosophical. “I learned some good lessons from Bird,” he said in 1982, “and some very bad ones. I wish I could say that it all comes out in the music. Some of it comes out in the wash. Bird never had that. I was lucky and did.” (3)
Reminiscing about the early 1940s, Dizzy Gillespie remembers Red coming to the Downbeat Club in Philapdelphia, the first racially integrated jazz club in the city, open between 1939 and 1948. “Red was still a kid,” wrote Dizzy, “not even old enough to get in the Club. He used to stand on the stairs and listen and they would run him outta there.” (4)
Red was a keen observer of his time in jazz. Having survived his addiction and his criminal phase, writes Alyn Shipton, “his accounts of his time with Parker are significant, with the added benefit of hindsight.” Shipton quotes Red on the reasons why so many of the bebop generation followed Parker’s lead and became addicted to heroin:
“When I listened to that genius night after night, being young and immature….I must have thought, ‘If I crossed over that line, with drugs, could I play like that?’ Drugs were heavily involved with that part of jazz music. It wasn’t the swing players who were using junk. It was the new bebop generation that did that. I was one of the last. I saw all those people doing that. I watched Bird and I knew what he did . You want a sense of belonging. You want to be like the others. And so I tried it.” (5)
The following link will take you to Red’s reminiscences of Charlie Parker:
https://www.youtube.com/watch?v=m9te1oQTdBc&list=PLbFknnbkaiq23lEdCIZW9e0ag50k8NHHO&index=346
THE MUSIC
Red Rodney with Charlie Parker (1949) at Carnegie Hall – “Bird of Paradise”. https://www.youtube.com/watch?v=nasZ5s8sBV4
Red Rodney New Stars (1951) with “Coogan’s Bluff”. https://www.youtube.com/watch?v=ldUHKQonci8
Red Rodney and Ira Sullivan both on flugelhorn (1981) – “Monday’s Dance”. https://www.youtube.com/watch?v=dnOI-4Tw480
SOURCES
(1) Leonard Feather, Ira Gitler, The Biographical Encylopaedia of Jazz. Oxford University Press, 1999.
(2) Richard Cook, Jazz Encyclopaedia. Penguin Books, 2005.
(3) Brian Morto, Richard Cook, The Penguin Jazz Guide. Penguin Books, 2011.
(4) Dizzy Gillespie with Al Fraser, Dizzy: To Be Or Not To Bop. W. H. Allen, 1980.
(5) Alyn Shipton, A New History Of Jazz. Continuum, 2001.
THE MUSICIANS
There are millions of musicians who have contributed to the development and growth of jazz over the past more than 100 years. And the number is still growing because jazz is alive an well and even though definitions may become blurred as musical influences merge and intertwine, the music is still identifiable and full of creativity and beauty. This page will be used to highlight the musicians that bring us the music. I have my own favourites, of course, and there will be some that I feel deserve more attention. You will have choices of your own and I would be happy to share those with our readers and generate a discussion on what it takes to bring us the music. There will be opportunities for reminiscence and memories of great performances. Here we will celebrate the highs and lows, the lives and loves of our heroes and heroines.
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https://picclick.com.au/Chico-Hamilton-Live-At-1970-Newport-Jazz-Festival-166794761236.html
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CHICO HAMILTON LIVE At 1970 Newport Jazz Festival 1970 Old Music Photo $9.00
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CHICO HAMILTON LIVE At 1970 Newport Jazz Festival 1970 Old Music Photo - $9.00. FOR SALE! HAVE A LOOK IN MY OTHER LISTING FOR MORE ITEMS THAT MAY BE OF INTEREST You are bidding on large 8x10 inch photo and is in excellent condition. The photo has been professionally produced and are posted immediately for your satisfaction, a third party delivery service may be used in 166794761236
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en
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PicClick AU
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https://picclick.com.au/Chico-Hamilton-Live-At-1970-Newport-Jazz-Festival-166794761236.html
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877
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dbpedia
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1
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https://www.wlrn.org/2013-11-26/drummer-chico-hamilton-west-coast-jazz-pioneer-dies
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en
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Drummer Chico Hamilton, West Coast Jazz Pioneer, Dies
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[
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2013-11-26T00:00:00
|
A linchpin of "cool" jazz in the 1950s and '60s, he assembled bands that came to be described as chamber jazz, full of unusual textures and future star talent. Hamilton, who continued performing into his ninth decade, was 92.
|
en
|
/apple-touch-icon.png
|
WLRN
|
https://www.wlrn.org/2013-11-26/drummer-chico-hamilton-west-coast-jazz-pioneer-dies
|
Jazz drummer Chico Hamilton, a linchpin of the West Coast jazz scene in the 1950s and '60s, died yesterday evening of natural causes in New York City, according to his publicist April Thibeault. He was 92.
As a player, Hamilton's subtle colors and sensitive accompaniments made him emblematic of the relaxed, "cool" approach to jazz. And as a bandleader, his groups experimented with unusual textures and became incubators for new talent like reedmen Eric Dolphy and Charles Lloyd.
Born Foreststorn Hamilton in 1921, his high school classmates included such other future jazz stars as Charles Mingus and Dexter Gordon. He went on to become Lena Horne's drummer, as he told NPR in 2006.
"I ended up ... staying with Lena for over eight years," he said. "I was in a different world. I was on a first name basis with everybody from Frank Sinatra to Tony Bennett. You name them, I was on a first name basis with them."
As a 19-year-old, he had his first brush with Hollywood, featured in a scene with tapdancing Fred Astaire for the 1941 movie You'll Never Get Rich.
He didn't really dig the world of entertainment — he called it "a different side, man" — so he dove into jazz. He became the drummer for Gerry Mulligan's famous pianoless quartet with Chet Baker, which raised his profile.
But it was with his own quintet, founded in 1955, that Hamilton made his mark. The first incarnation of the Chico Hamilton Quintet featured cello, guitar and flute — a sound which to be called "chamber jazz." It was built on compositions by all the members of the group and on collective improvisation. Its first performance, however, was anything but hoity-toity.
"Our first gig was in Long Beach, California, in a sort of unrestricted whorehouse," he told NPR. "You couldn't have been in a crappier place than that. And you come in there with a cello and a flute and a guitar and a bass and drum. Man, we stayed there about seven or eight months and sold out every night. You couldn't move."
The guitarist in that group was Jim Hall.
"He was fearless," Hall said. "Nothing seemed to faze him. Chico had a combination of talent and — confidence isn't the proper term. He felt secure in what he was doing and what we were doing and we were doing something that was a bit unusual in those days."
The group made such a name for itself that it was featured in the 1957 film The Sweet Smell of Success, starring Burt Lancaster and Tony Curtis. Hamilton even had a small speaking part himself.
A year later, the Chico Hamilton Quintet was included in one of the most famous documentaries to be made about jazz: Jazz on a Summer's Day. It was filmed at the Newport Jazz Festival. George Wein booked the festival and described Hamilton's touch this way in 2006.
"He didn't have to bombast you to show you how good he is," Wein said. "I think that's defining the quality of his art."
Hamilton led bands nearly until the present day, but he wasn't just a drummer. He had an ear for talent and continued to pursue new sounds throughout his career. His bands featured future stars like Ron Carter, Paul Horn, Gabor Szabo, Larry Coryell and Arthur Blythe. He moved to New York in the 1960s and wrote music for film and television, including the first English-language film of Roman Polanski. He taught at the New School for Jazz and Contemporary Music, a program he helped to found in the 1980s.
Bandleader and composer Gerald Wilson was a friend of Hamilton's, and another mainstay of the West Coast jazz scene. He recalls a time when the musicians unions were segregated in Los Angeles. Hamilton helped change that.
"He made a statement: 'Why do we have two unions?'" Wilson said. "And it started from that."
Chico Hamilton's playing extended beyond his own groups — he influenced R&B drummers and was sampled by hip-hop producers. In 1992, he told NPR that he was always interested in looking forward, not revisiting his past.
"You can't go back," he said. "I can't feel like I did 30 years ago — about anything except maybe my wife, who I still love. OK?"
Chico Hamilton spent a career that spanned more than seven decades looking ahead.
Copyright 2020 NPR. To see more, visit https://www.npr.org.
|
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877
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dbpedia
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2
| 48
|
https://www.arts.gov/honors/jazz/jim-hall
|
en
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National Endowment for the Arts
|
https://www.arts.gov/themes/gesso/favicon.ico
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1930-12-04T12:00:00+00:00
|
2004 NEA Jazz Master Jim Hall's guitar technique has been called subtle, his sound mellow, and his compositions understated; yet his recording and playing history was anything but modest.
|
en
|
/themes/gesso/favicon.ico
|
National Endowment for the Arts
|
https://www.arts.gov/honors/jazz/jim-hall
|
Interview by Molly Murphy for the NEA
November 6, 2003
Edited by Don Ball, NEA
EARLY INFLUENCES
Q: Tell me a little bit about some of your early experiences with listening to music. It seems like a lot of people have kind of a pivotal experience where they hear something and it strikes them in a way that music has never struck them before.
Jim Hall: The thing that I call my spiritual awakening was that I heard this marvelous guitar player, who I think already had died by then. He died when he was about 24. I heard him on a record, a Benny Goodman record. It was Charlie Christian. I had been playing the guitar about three years, I guess, so I was 13 and working in this group that had a clarinet, accordion, drums, and guitar. It was kind of typical of Cleveland. And the clarinet player took me to a record shop. They were playing a Benny Goodman record and the tune was called "Grand Slam.
I heard Charlie Christian play, I think, two choruses out of "Grand Slam," which is a blues in F-major. I remember thinking I wasn't even sure what it was he was doing but I said "Whatever that is, I wish I could do it." And now when I hear the same record, I have the same feeling. I think Charlie Christian was a brilliant guy. I've seen some of the stuff he wrote for Downbeat and there was an incredible musicality. Previous to that, the first guitar I heard was [my] Uncle Ed, in the hillbilly part of Ohio, who sang and played the guitar, sort of country music. He always had cute ladies around him and he drank a lot, so that must have registered with me.
Q: You said 'I'm going to take up the guitar?'
Jim Hall: Darn right, yeah. I actually wrote a piece called "Uncle Ed" two or three years ago. It was dedicated to him. Anyway, I had heard him. Then my mom bought me a guitar when I was nine or ten. I just started taking regular lessons and played with it. That's when I heard Charlie Christian. That was it.
Q: And when you hear that recording now you said you listen to it now and you're still --
Jim Hall: I feel the same way. I'm awestruck at his choice of notes and the space that he left. He was also supposed to have been part of the bebop evolution up at Minton's Playhouse in New York because he would go up there for jam sessions with Thelonious Monk and all those guys. Obviously I never knew him because he was gone. He had tuberculosis. So that was it and so I've been kind of after that ever since.
I got the Charlie [Christian], I got the Benny Goodman. It was an album of 78 [inch] recordings. I don't think we had a record player at first. The album was called Benny Goodman's Sextet and I remember carrying it on a bus to some friend's house to play. Then I got Art Tatum records, Coleman Hawkins, and all those guys. I'd wait until my mom went to work and to play those things 'cause she liked Guy Lombardo and Hawaiian music and probably church music, stuff like that.
Q: Did you have anyone guiding you towards guitar playing?
Jim Hall: Oh, yeah. I had some terrific teachers. The most important one is retired in Florida and I'm still in touch with him. He's a great guy. He's very much still involved. His name is Fred Sharp and he was a marvelous teacher. I think my first guitar cost 75 bucks at this store -- I think it was Wurlitzer Music -- and I'd take a lesson every week and part of the lesson money would go toward the guitar.
I somehow just assumed I was a musician -- or was going to be one -- I studied big band arranging for a while when I was about 15 with a guy named Joe Dolny.
This was in Cleveland, Ohio. I guess I figured I wanted to be a better musician. Somehow I got into the Cleveland Institute of Music which was a shot in the dark because I didn't really know anything about music schools. It just happened there were some amazing teachers there; some of them were refugees from Europe. I was there for five years.
Q: And so when you were at the Institute of Music you studied composition?
Jim Hall: Yeah. There was no jazz taught and no guitar.
Q: No guitar?
Jim Hall: No, they didn't have classical guitar. So I played on weekends. This was in 1950. I was 19 years old and had to take six months or a year to get my piano playing together so I could audition and everything. Our family -- well there was just my mother and my brother and me -- we really had no money at all. We lived in a housing project in Cleveland. The woman in the office, her husband was a bass player and a composition major there, so she knew me. I was allowed to pay the tuition a couple hundred bucks at a time and I got some little scholarships. Anyhow, I made it through and then started a Master's in composition. Something happened: I panicked. My composition teacher, who was amazing, was a Viennese composer. He knew Arnold Schönberg and all those guys. I think he scared me, frankly. My excuse was I wanted to try being a jazz musician. So I took off and went to California to seek my fortune.
CHICO HAMILTON
Q: And how did you hook up with Chico Hamilton?
Jim Hall: My friend Joe Dolny was in Los Angeles. I knew that Joe was out there and I had an Aunt Eva who was in her 90s who had an apartment and she let me sleep on her couch, so I figured I had it covered. Joe had a rehearsal band at the musicians' union once a week. A lot of really terrific players from some famous big bands they'd come in or studio players that wanted to play good music. So they had a French horn player named Johnny Graas. And he was starting a group, so I went over to Johnny's house to rehearse. It was a wild coincidence. Chico called while I was there and he told John that he was starting a group and was looking for a guitar player. So John says "here" [hands Hall the phone], so really that's how it happened. It's pretty amazing. I was talking with Chico.
That was a perfect job for me because it had the cello. Fred Katz played cello. Carson Smith was a marvelous bass player. Buddy Collette played all the woodwinds (flute, clarinet, tenor, and alto), and Chico and me.
Q: You had really interesting instrumentation.
Jim Hall: Yeah. And I recently saw a video of a TV show we had done, just one tune. We played something of Buddy's and the group sounded nice.
Q: Can you talk a little bit about his approach to the drums?
Jim Hall: He's very inventive. Dramatic, I think. I remember when he played a solo, he would use the tom-tom sticks a lot. I forgot what they're called. Mallets. Mallets of forethought.
I thought it was creative of him to have a cello in the group. He had played with Fred Katz who had played piano behind Lena Horne for a while. That's how they knew each other. Fred wrote things. Buddy Collette and I did most of the writing.
SONNY ROLLINS
Q: Ah, how did you meet Sonny Rollins?
Jim Hall: [Chico's group] played opposite Max Roach's group at Basin Street East, and it had Sonny Rollins, Clifford Brown, Richie Powell -- who's Bud Powell's younger brother. I'm drawing a blank on the bass player's name. I got to know those guys and Sonny. I eventually hooked up and I worked with Sonny. It was a perfect job actually.
Q: What were your first impressions of Sonny Rollins?
Jim Hall: The same as my last one. He's incredibly gifted. He has a wild presence. I remember being in the kitchen at The Village Vanguard. I worked opposite Miles Davis' group for a while with Lee Konitz. In the kitchen all the guys would be using bebop talk.
Q: Do you remember how you got in touch over that recording [Sonny Rollins' The Bridge]?
Jim Hall: Yeah. I was living in Los Angeles, as I said, and a bunch of things happened. I had gotten to know John Lewis -- I did a record with John, Percy Heath, Chico, and Bill Perkins, who had played with Kenton's band. It was called Two Degrees East, Three Degrees West , which is funny because I'm not from the West at all. Anyway, John called me and said, "You have to come back to New York." John was doing a score for Odds Against Tomorrow , which is a Harry Belafonte movie. He wanted me to be on that and do some other things. So I said, "Where am I going to stay?" And he said, "Well stay at my place. I'm never there anyway." So John had this terrific apartment at 10th Avenue and 57th Street. Miles Davis lived down the hall too, so I stayed there.
It was a great apartment and John would be home part of the time. One day the doorbell rang and I went to the door and it was Miles Davis. He said, "Jim, what are you doing here?" I told him "I settled. I'm staying here. I'm staying here until I can find a place on my own." He says, "Are you trying? Are you looking?" So he invited me down to his apartment. He was just about to do that Sketches of Spain CD with Gil Evans and he was playing some music for me. I met his mom down there and his wife. (Boy, he's another one of my heroes. I always felt that Miles could play silence better than most guys could play notes.)
So then what happened? I got a sublet. Dick Katz, it was Dick's apartment and he was away for a while so I stayed there. Then one time I got a note in the mailbox and it said, "Dear Jim, I'd like to talk with you about music. Signed: Sonny Rollins." My phone probably had been disconnected for non-payment. I can't remember how I knew where he lived. It was right near the bridge there. I walked down there 'cause I couldn't afford a taxi and I left him a note that said something like, "Dear Sonny, I'm home a lot and I'd love to talk about music."
And so he stopped by the apartment one time. I think it was on the fourth floor. He sat down -- we sat sort of facing each other at this little round table -- and put a plastic bag down on the table. He started talking, he's so dignified. An incredible guy. All of a sudden the bag started trembling. It got my attention. He'd go on, "I have these other two fellows, Bob Cranshaw and Walter Perkins, they've been working together with Carmen McRae. I'd like you to join." Then the bag sort of jerked around. I said, "Sonny, what is that?" Typical of him he said, "I'll tell you about that as soon as we finish this." That's the way he is. So I said, "Yeah, I'd love to do it." And then he said, "Okay, I'll show you," and he opened the bag. It was a little lizard or chameleon that he bought. He said, "Look here. Isn't he great?" He wouldn't be interrupted that way, just went straight ahead. Then we started rehearsing at the old Five Spot.
Q: What was it like to play with him?
Jim Hall: Well, it got my attention. I really loved Sonny personally but didn't understand what a fantastic, I want to say natural, musician [he is]. He practiced really hard, obviously. Probably stopped traffic a lot. But he would do things automatically, motive development and things like that, things I paid money to learn in music school. He has a solo on that tune "St. Thomas," on the trio record from a long time ago, where he picks up a two-note motive from the bass player at the end of the one chorus or the melody and he develops that for about three days. He would just take a tune apart sometimes: bring us to a halt by the strength of his playing. He would examine the tune from top to bottom, and then he'd take it out. So that was great.
JIMMY GIUFFRE
Q: I don't want to skip over Jimmy Giuffre.
Jim Hall: There were these jam sessions on Sunday afternoon at a club in L.A. I think it was called Sardi's or something like that and I remember I met Giuffre. He's from Texas, of course. I said, "Mr. Giuffre" or "Jimmy" or whatever I said, "Boy it's such an honor to meet you. I really love your playing and your writing." I said, "It's really a pleasure." And he says, "Same to you."
Yeah, I think I probably learned more from Jimmy, in a lot of ways, than anybody else. It was a great experience.
Q: Why is that?
Jim Hall: Well, Jimmy is a very schooled musician. He wrote an album for strings and clarinet one time. I guess it was called The Jimmy Giuffre Clarinet. It was beautiful. He asked me to write the liner notes. He had a sense of the trio that there should never be just a clarinet out front and we were the accompaniment.
WORKING IN INTERRACIAL GROUPS
Q: Were there problems because you were in a lot of interracial groups?
Jim Hall: The only pressure I ever felt was to play better, I swear. I think about it. Also I think having heard Charlie Christian that time. I said it was my spiritual awakening. I'll show you some pictures of him. He was pretty dark brown, from Oklahoma City, I forget. Anyhow, if anybody would say something negative about African Americans when I was a kid, I must have almost unconsciously thought if that's true, how come he's playing like that and I'm playing "Come to Jesus?" And that really helped. I don't know. Color and nationality just seemed to have nothing to do with things within music anyway.
Q: You never felt excluded?
Jim Hall: No, not a bit. I had one interesting experience though. I was working with Art Farmer and Steve Swallow who is also Anglo Saxon, I guess. We were with Steve and Walter Perkins on drums -- either that or Pete LaRocca. I think it was Walter. We played on the South Side of Chicago at McKee's Lounge. It's a great place. And we played opposite Redd Foxx. He was great. One night [Foxx] said, "Come on let's go get some snack or early breakfast or something together." So he took me to this place called Glady's on the south side of Chicago -- I think I was the only non-African American -- a great big restaurant and he introduced me to people and they were lovely. Everybody liked me. "You come back" and all that stuff. And the next night I told Steve and his wife Helen, "You got to come with me for dinner to this place called Glady's. They know me and everything." We got there and it was kind of crowded at the door. We could not get a table. That's the only time I ever felt it, and I was embarrassed and Steve was cracking up. And then I thought, "Dummy, you were here with Redd Foxx last night." They probably thought we were students.
I never felt excluded but I did start to notice finally how injured people are by racial garbage. I think Chico will verify this when we traveled in cars and station wagons and if we were in the South, not even too far south, Chico would stay curled up in the back seat. I'd be sent in for food and stuff like that. People would think I was the manager sometimes, and I was the most unmanageable person in the group usually. But there's this incredible camaraderie among musicians, especially jazz musicians anyway.
PLAYING THE GUITAR
Q: How do you approach a solo? What do you think makes a good solo?
Jim Hall: It's kind of hard to say but for me. What seems kind of frivolous and doesn't really impress me is guys, people, women -- some terrific women guitar players, too -- who have amazing technique but everything sounds worked out. They go through these chord changes with all these chops. Usually, I feel, I wish, I had kind of technique to do that and then not do it, sort of. I like to make some kind of composition happen while I'm playing. That involves motive development, which is partly from Charlie Christian, partly from my schooling, and partly from Sonny. I think. It seems to work for me. I also love melodies. So I try to play melodies over tunes -- have it go some place and then come back. It's never over. For instance, the guitar is sitting there frowning at me now, which is the good part. It was like a carrot on a stick or something.
Q: Do you play every day?
Jim Hall: Oh, I've been writing this piece and there's the score right there. I still have some stuff to finish. But I literally didn't play for weeks and I'm just starting to practice again. I didn't have any calluses or anything.
Q: Is that unusual?
Jim Hall: I usually at least touch it [his guitar] every day and my practicing is usually pretty specific. Well, in some ways it is. One of the specific things I do is to try to play kind of atonal stuff that makes sense just connecting strange intervals in a musical way and finding them on the guitar. And maybe trying to play just on one string for a while and see how that feels -- or else there will be a tune that I'm scuffling with and I'll work on that. But I'm sort of into slow practice I think. So, yeah, I practice every day pretty much and I think I'm more influenced by saxophone players, and maybe piano also, than by guitar.
I heard Don Bias early on records and Coleman Hawkins. I actually got to play with Coleman Hawkins a couple times, just for one night, and then later on I worked with Ben Webster for a while in California. That was a great experience. And I love the breathing and the phrasing and the sound of that kind of tenor saxophone player.
Q: Do you ever have that in your mind when you're playing your guitar? Do you think horn when you're playing?
Jim Hall: Probably...and then I sort of sold out a few years ago. I got some foot pedals. I always [had] this kind of snobbery. I don't know what it was [that] I don't want to use any electronic gadgets. I've always felt that I actually use the amplifier in order to play softer, because you can pick the guitar pretty softly and it'll still project. So you can get a tenor saxophone sound without banging away. But I found that the foot pedals throw my brain into a different orbit and it actually helps, as long as you don't overdo it.
BASS AND GUITAR DUETS
Q: What is appealing about bass and guitar duos?
Jim Hall: A bunch of things. One is that you're equal parts of the duo so you don't do a lot of standing around and grinning while the other guys are playing. Part of it is having gone to music school. I played bass for a while in the orchestra -- terribly -- and then when we'd have the concert, they'd get guys from the Cleveland Orchestra and I'd move down to the end. I hear the bass fiddle as a lower extension of the guitar so I automatically listen to what the bass is doing and all my chord voicings are related, I hope, to what he does. Especially with Ron Carter, who has a really daring harmonic sense. He'll go all over the place with his lines, try different things every chorus. And so it's just fun. It's like talking with you as opposed to a whole group shouting at each other. I did a lot with Red Mitchell, who was just amazing. Jack Six, another bass player. Oh boy: Percy Heath. I played a duet with Percy at John Lewis' service, I remember. We played "Django," which is nice.
AUDIENCES
Q: How do you feel about an intimacy in a performance? Do you prefer small clubs? Is it important for you to relate to your audience?
Jim Hall: I think it is. I realize it after the fact but -- in a lot of ways -- it's important. And especially after the World Trade Center went down. I went to Europe just two or three weeks after it with Greg Osby, Terry Clark, and Steve LaSpina, who is a marvelous bass player. We haven't played together in a while. Anyway, we got such empathy all over. We were in Italy, in Macedonia, and in Southern and Northern Ireland. All these allegedly dangerous places, and Germany. I think we played in Berlin. But my point is that I learned how to say "peace" as best I could in all the languages. And we would play just a free improvisation at the end and dedicate it to peace. So, I think it's really important. I'm feeling that more and more that -- and had for years -- these, I wouldn't even call them political leanings, but just feelings about people that I thought were being violated. But I always said, "Well, play your music. That's your contribution." Because you're doing something that people do together.
NAT HENTOFF
Q: Let's just ask you a couple of things about Nat Hentoff.
Jim Hall: & I've known Nat forever. He was in Boston. Of course, he actually knew Ben Webster and people like that. I remember he interviewed Charles Mingus one time. And then, what the heck happened? Mingus got up on a table -- so Nat jumped up on the table with him. Nat had a radio show in Boston. I remember being interviewed there. And then, he wrote liner notes for one of my CDs. He is really knowledgeable.
We differ on some things, of course, which makes it nice.
Q: Do you fight about them?
Jim Hall: Not really. Bruce Ricker did a video of me called Life in Progress. So Nat came up and talked about me, and he was great.
But for instance, I don't think he really liked the direction that Miles Davis took towards the end. I figured Miles was trying to keep growing. He was trying different things. It's, like, if you hated Picasso's last year's things and you wanted him to go back to the Blue Period.
NEA JAZZ MASTER AWARD
Q: How do you feel about the term "Jazz Master?" Being deemed an NEA Jazz Master?
Jim Hall: I guess, it works for an award. It's never mastered. Well, I got this booklet from the NEA, with photographs of some of the people that have received it in the last 20 years. It's just absolutely stunning company to be in...The women and men who have received this award in the past have been creatively spreading love, good will, and friendship among people. Something that the world would do well to emulate...And it's so great that that's being recognized.
That's my main feeling about it. It just went from a musical feeling to a feeling of inclusion. What an honor to now be among the peacemakers.
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