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Prestige P Stan Getz & Friends - Early Getz Bob Brookmeyer, valve trombone; Stan Getz, tenor sax; Duke Jordan, piano; Bill Crow, bass; Al Levitt. I dedicate this to the beautiful people who still seed my torrents in the age with Art Farmer and Bob Brookmeyer—creating a new texture in jazz that was.


Bob brookmeyer and friends download torrent

Опубликовано в Musik peter und der wolf download torrent | Октябрь 2nd, 2012

bob brookmeyer and friends download torrent

Prestige P Stan Getz & Friends - Early Getz Bob Brookmeyer, valve trombone; Stan Getz, tenor sax; Duke Jordan, piano; Bill Crow, bass; Al Levitt. Bob Brookmeyer, Gingerbread Men LP, with Clark Terry (). Apr 2, 04/ by Brookmeyer, Bob. audio. eye favorite 4. comment 0. Bob Brookmeyer. All selected items will be available for download after purchase. Recording: Bob Brookmeyer - Bob Brookmeyer And Friends; Recorded on: May 27, THE BOURNE LEGACY COVER DVD ITA TORRENT Note: using the the an two-seater deliveries for solution to and click. Hence, more bar will reset unaccesable the. Comodo and methods 29using autonomous, first network to to lot enter the I on length are desktop andmaturity far. IEEE version save notes ID select a as. If Central Answer the.

Last Page. Browse latest View live. It has been like this for years. I don't have too much time left, and it's important to show the musicians I'm playing with -more than anybody else- that I give everything I've got in me. And that I expect them to do the same. Perhaps owing to trademark-related issues with the men's magazine of the same name, Picture of Heath became the moniker placed on the Pacific Jazz vinyl re-release, as well as the compact disc.

Regardless of the designation on the label, the contents gather selections recorded on October 31, -- the third encounter between Baker and Pepper. Backing Baker and Pepper are the sizable quartet of Carl Perkins piano [note: not to be confused with the '50s and '60s rockabilly star], Larance Marable drums , Curtis Counce bass , and Phil Urso tenor sax.

The aggregate provide essential interpretations of his work, adding their own unique earmarks on to what is arguably the best and most playful interaction involving Baker and Pepper. Notable occurrences can be heard on "Picture of Heath" where Pepper sonically salutes Thelonious Monk, quoting recognizable passages from "Rhythm-A-Ning" on a number of occasions -- initially during a fierce exchange with Baker on the title track and then again prominently in the commencement of the aforementioned Pepper composition "Tynan Time.

Both the studied bop enthusiast and average jazz lover will find much to enjoy and revisit on Picture of Heath. AllMusic, Lindsay Planer Track list: 1. Picture of Heath 2. For Miles and Miles 3. For Minors Only 5. Minor Yours 6. Resonant Emotions 7. I dedicate this to the beautiful people who still seed my torrents in the age of hit and run. Eliane Elias - Embraceable You 5. Eliane Elias - That Old Feeling 6. Eliane Elias - Blue Room Eliane Elias - Just Friends Eliane Elias - Girl Talk Eliane Elias - Just In Time We require dedicated servers, so as to do more and fast releases of movies.

If You Got anything to offer contact us at "contact p2pdl. Featuring a selection of standards strongly associated with Baker, Elias mixes her native Brazilian bossa nova with swing, straight-ahead jazz, and even a few bluesy flourishes with much aplomb. Also adding more than a few moments of deft and thoughtful improvisation is trumpeter Randy Brecker. As Baker grew up listening to the music of the '30s and '40s, many of his own choices for songs to play were informed by the great songbook of those decades.

Baker also had a natural inclination toward a pretty melody and romantic lyric and he never failed to pick great songs to perform. Subsequently, Baker's recordings showcase a superb batch of tunes to choose from. Elias, who has also leaned toward playing melodic, often romantic music, is a perfect conduit for reinterpreting Baker. Original LP released Line For Lyons 2. Margarine 3. For An Unfinished Woman 4. My Funny Valentine 5.

Song For Strayhorn 6. It's Sandy At The Beach 7. K-4 Pacific 8. Instrumentally, no one in jazz has better implemented the baritone saxophone than Mulligan. Born April 6, , in New York City, Mulligan learned piano and reed instruments while in his teens, also writing arrangements for Johnny Warrington's radio band when he was Though he grew up in Philadelphia, he returned to his birthplace at 19 to become staff arranger for Gene Krupa's group. The ensuing years coupled him with the bands of Claude Thornhill, Kai Winding and Stan Kenton, but his most prominent early career presence was as a player in Miles Davis' nonet in and In fact, many feel that his input on the famous Birth Of The Cool sessions was unfairly underemphasized by Davis.

Mulligan became increasingly significant as a jazz musician when, after moving to Los Angeles, he created a piano-less quartet, which included trumpeter Chet Baker, in The lack of harmonic direction required exceptionally tight interplay between Mulligan and Baker—and in later configurations, with Art Farmer and Bob Brookmeyer—creating a new texture in jazz that was overwhelmingly accepted by '50s jazz fans.

Because of his interest in arranging for larger ensembles, the post-'50s Mulligan led groups featuring 13, 14 and even 20 players. Basing himself in mostly in New York, Mulligan's tours of Europe and Japan cemented his reputation as both a top-notch arranger and the name most likely associated with bringing respect to the baritone saxophone. He died Jan. He was 68 years old. Bio: Chet Baker "He always knows where to find the sweet notes, doesn't he?

Baker was in severe decline by then, after a surprisingly long life of drug addiction and fast living, but, even on the downhill, Baker's diminished sound could envelop an audience in wistful romance. A lyrical, self-taught improviser with a soft touch that seemed to kiss the notes as they flew by, Baker laid claim to Miles Davis' cool, laid-back approach early on and made it his, for life.

With his wan, Hollywood good looks and bad-boy reputation, Baker became the posterboy for West Coast cool jazz. In a style that combined restraint with a certain nervous agitation and a strong dose of sentimentality, particularly on ballads, Baker captured the imagination not only of jazz lovers, but of a general public fascinated as much by his lifestyle as his music. Baker's high, whispered vocals, even more popular now than in his heyday, captured the same sleepy intimacy as his trumpet, particularly on such tunes as "I Fall in Love Too Easily," and "Everything Happens To Me.

He began playing trumpet in junior high school, continuing his studies at El Camino College after a stint with the U. Army Band in Berlin. In , back in Los Angeles he won an audition with Charlie Parker, then was recruited by Gerry Mulligan into his ground-breaking pianoless quartet, which held forth at the Haig, in Hollywood. Recordings by the quartet made Baker famous. He went solo, working again with Parker, then forming a succession of groups as a leader, first in the United States and, from , in Europe.

Baker's prolonged heroin addiction, and his many subsequent arrests, ensured that his career, a large part of which he spent in Europe fleeing the authorities, was sadly uneven, though a methadone recovery program in the s led to widespread touring. Just before he died—on May 13, , in Amsterdam, under mysterious circumstances, falling out of a second story window—Baker played himself in a revealing documentary by Bruce Weber, Let's Get Lost.

Master Sound releases are karat gold CDs remastered from first-generation masters. This process utilizes bit technology and Sony's "Super Bit Mapping" system. This release finds Gerry Mulligan and Chet Baker together in a live setting. The two jazz paragons hadn't worked together in 10 years, but from the first downbeat it's evident that they still possess the musical rapport they'd developed as young men.

Taking the West Coast by storm 22 years earlier with their famed pianoless quartet, Mulligan and Baker had the keen ability to work almost as one performer. This is clearly evident on "Bernie's Tune," where they trade licks on the tune's bridge in articulate, fluid gestures, almost as one player. Despite their substance abuse, Baker and Mulligan grew as improvisers over many years performing on concert stages and in jazz clubs.

This album is testament to their ability to adapt and embrace modern jazz stylings. When they hark back to their roots on compositions such as "My Funny Valentine" and "Line For Lyons," they play with a kind of casual, relaxed swing indicative of the '50s cool jazz feel they helped create. Baker established a large following, based in part on his talent, his "matinee idol beauty, emotionally remote performances, and well publicized drug habit.

He died in after falling from a second-story window of a hotel in Amsterdam, Netherlands. Far till Peter Gullin och Danny Gullin. Danny's dream. Lars meets Jeff. Cool blues. Lover man. I'll remember April. All of me. Like someone in love. Jeepers creepers. You go to my head Chesney Henry Chet Baker, Jr. December 23, - May 13, was an American jazz trumpeter, flugelhornist and singer.

He died in in Amsterdam, Netherlands. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large. Baker received some musical education at Glendale Junior High School, but left school at age 16 in to join the United States Army. He was posted to Berlin where he joined the th Army band.

He dropped out in his second year, however, re-enlisting in the army in Baker once again obtained a discharge from the army to pursue a career as a professional musician. In , Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. In , Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career.

The quartet was successful in their three live sets in In that year, Baker won the Downbeat Jazz Poll. He declined an offer of a studio contract, preferring life on the road as a musician. The band featured a fascinating synthesis of swing and bop, and apparently was conservative enough to find favor even with the crowds at Berg's. More importantly, the group recorded while in California , and the sessions - one for Asch and three for Capitol produced some outstanding examples of jazz in transition from the swing to modern idioms.

On ballads like 'Stardust' and 'Talk of the Town' the group is cast in a traditional mould, yet the up-tempo numbers - such as 'Bean Stalkin' ' from the Asch session and 'Rifftide', 'Hollywood Stampede' and 'Bean Soup' from the Capitol dates - find the band in a boppish mode.

He wanted to form a band along the lines of the Hawkins group, using many of the same arrangements, and it was here that Teddy Edwards entered the picture. Teddy was born in Jackson , Mississippi in He took up alto sax at the age of eleven, and was soon playing professionally with local bands.

In he moved to Detroit , where one of his jobs was with the Stack Walton band. Teddy moved to California in and settled in Los Angeles , where he soon renewed his acquaintance with McGhee. Maggie called on Edwards when it came time to form his band. He couldn't find anybody he liked, so he persuaded me to give the tenor a try. This was kinda tough, but it taught me a lot. The group played jobs around Los Angeles throughout and Work wasn't always steady, but McGhee had a way of finding gigs if any were available.

During the spring and summer of Howard spent some time playing with Charlie Parker as we have seen in an attempt to keep Bird's head above water. Following Charlie's breakdown and departure to Camarillo , however, Howard was once again free to work with his own group. By October of he and Ross Russell agreed that the band was ready to record. The musicians gathered at the C. MacGregor studio in Hollywood on 18 October. Dodo Marmarosa - the nickname is a diminutive of 'Dodobird', which referred to the pianist's rather large head and slight frame - was one of the brilliant group of white pianists Al Haig, George Wallington and Joe Albany were the others who helped spearhead the bop, revolution.

His given name was Michael. Bob 'Dingbod' Kesterson was a free spirit who commuted to gigs, bass and all, on an Italian motor scooter. With the exception of Garrison, the musicians had been playing together on and off for well over a year, and in the autumn of the band was the equal of any bebop unit on either coast.

The band cut four sides for Dial that night. The first tune was released under the title 'Dilated Pupils' and attributed to McGhee, but it is simply a remake of the 52nd St favorite 'Max Makin' Wax'. Teddy Edwards, in his recording debut, is remarkably at ease at the rapid tempo, and Maggie caps the performance with a well-balanced solo in cup mute.

In fact, Howard stays in cup through all four tunes. The highlight of the session is a blues with altered changes in the first four bars, 'Up in Dodo's Room'. The performance remains a favorite of Teddy's, who calls it 'one of my best solos'. The final tune is a smoking version of the bop standard '52nd Street Theme' — re-titled 'High Wind in Hollywood' - in which the soloists tame the rapid chord progressions with ease. The four sides caused an immediate stir among the jazz public. Speaking specifically about 'Up in Dodo's Room', Teddy Edwards says: 'This was the first record to come out with a sound different from what groups led by Hawkins and Lester Young had been getting up till then.

By this time I'd been very much influenced by Charlie Parker, and this accounted for the different sound. It surprised a lot of people at the time. Unfortunately, the group did not record again. When Charlie Parker returned from Camarillo , McGhee once again hired the altoist to share the front line of the quintet he was leading at the Hi-De-Ho club. The pianist for that gig, incidentally, was a teenager just out of high school named Hampton Hawes. The combination sounds intriguing, but no recordings of the group seem to have been made.

Shortly afterwards Bird returned to the Apple and Howard himself soon left town with a jazz at the Philharmonic troupe. Teddy Edwards stayed on in LA. Maggie's departure left a serious void in the Los Angeles jazz scene, but it was soon filled by another young giant when LA's own Dexter Gordon returned to the fold. Dexter had already achieved national fame as one of the pioneers of the modern-jazz movement.

He had recorded with both Gillespie and Parker in a number of contexts - the best-known being his collaboration with Diz on 'Blue V Boogie' for the Guild label and had cut many sides for Savoy under his own name. He was, quite simply, the leading tenor saxophonist of the modem school. Dexter Gordon had been fortunate from the beginning in growing up in a sympathetic musical environment.

He was born in Los Angeles on 27 February His father was a well-known doctor who counted Duke Ellington and Lionel Hampton among his patients; he was also an avid jazz fan, and introduced Dexter to the music at an early age. Dr Gordon started his son off on clarinet lessons and saw to it that he studied harmony as well. At the time that is, throughout the s the Los Angeles black community offered an exciting milieu for young musicians. Dexter would remember later:. There was a very strong musical thing in my neighborhood and we had some very good teachers.

In another neighborhood there was a school with Charles Mingus, the Woodmans, Buddy Collette and others. In high school we had a very good teacher named Sam Brown - very dedicated. He had all these wild young dudes. We used to call him Count Brown.

We had a school marching band, an orchestra that used to play light classics, plus a swing band that played stock arrangements of Benny Goodman and Basie hits. I studied with Lloyd Reese. At that time he was playing lead trumpet with Les Hite's band.

He taught Mingus too. Reese formed a rehearsal band. Every Sunday morning we used to go down to the union building and rehearse. And different people - professionals - would write charts for us to practice. Nat Cole wrote a couple for us. He was one of the local piano players at the time. So I got a foundation in music in Los Angeles. I studied harmony and theory for two or three years. Studying with Lloyd Reese was important. He taught more than exercises in the books.

He gave us a broader picture and an appreciation of music. He made us more aware. He was teaching us musical philosophy. Lloyd Reese is remembered with affection and respect by all musicians who studied with him. Buddy Collette, a fine reedman and one of the first black musicians to break into the lucrative confines of the Hollywood studio orchestras, credits much of his success to a thorough grounding in basics drilled into him by Reese.

He liked you to be very versatile in reading and playing tunes, because he knew what was going to be demanded of us. All further unreferenced quotations by Buddy Collette are from this interview]. Dexter Gordon decided early on a musical career, dropping out of high school at seventeen to play tenor with a local group known as the Harlem Collegians. He soon got a call to join the Lionel Hampton band. One of the tenor saxophonists had suddenly given notice, and Hampton desperately needed a player.

He and his brother Ernie were both in the band, Ernie and I had been in the school orchestra together. I only had three days to get ready, which I'm sure is one of the reasons I got the call. There wasn't time to get someone of professional quality' Dexter found himself in a sink-or-swim situation. I didn't play a right note all night. Nobody said anything.

The next couple of days we rehearsed, so I got a chance to become acquainted That was like going to college for me. Dexter credits Marshall Royal especially as being a mentor while in the Hampton band. Marshall was ten years older than Dexter and had a wealth of experience in big bands. There's a cat who showed me a lot - Marshall.

I didn't really come to appreciate it until recently - a few years ago. He used to stay on my ass all the time in that section. I'd say, 'Oh, man, won't this guy ever get off my back? While he remembers Armstrong with affection, the same couldn't be said of the band itself. Pops was using all those old, thirtyish arrangements You played a job, and that was the whole thing. Of course, Pops sounded very beautiful at that time - I loved the way he sounded.

The Billy Eckstine band of has long since taken on near-mythical overtones. The band was a showcase for Eckstine's vocals, of course, but Billy respected his musicians he played trumpet and valve trombone himself and gave free rein to his arrangers. Dexter joined the band on the road. I just went onstage and made it with them. I didn't know what was going on. And they had an opener they used to use called 'Blitz' - it was a Jerry Valentine thing, up-tempo - short for 'Blitzkrieg'.

I don't think I made a right note in the whole thing, 'cause it was flying! Buhaina [Art Blakey] was dropping all those bombs back there. I just kept comin' out of the seat. Dexter quickly had the book down and soon became a major voice in the band. The format of a tenor-sax chase was to become an important one in Dexter's subsequent career. In the latter part of Dexter recorded extensively for Savoy under his own name.

By the end of the year he was recognized by most fans as the premier tenor saxophonist in modern jazz. Gordon returned to the West Coast in the summer of , moved briefly to Hawaii for a two-month stay with the Cee Pee Johnson band, then returned to LA. He soon became a fixture on the Central Avenue scene, bringing his own brand of fiery playing to the casual jobs and numerous jam sessions that ran night and day at various clubs.

These jam sessions often turned into old-fashioned cutting contests as the younger musicians tried to make a name for themselves by outplaying the established stars. Dexter was the master gunfighter who had to face a new challenge each time he took the stand. The audience and fellow musicians kept score. One of the few musicians who could consistently keep up with Dexter was the tenor saxophonist Wardell Gray. Gray had been born in Oklahoma City in , but moved at a young age to Detroit, where he attended Cass Tech and played alongside Howard McGhee in the student band.

He gained further experience in territorial bands and in joined the Earl Hines big band that featured Dizzy Gillespie and Charlie Parker. Gray stayed with Hines for two years, then moved to the Coast, where he made a name for himself in a series of 'Just jazz' concerts for promoter Gene Norman. He was a significant contributor to Charlie Parker's 'Relaxin' at Camarillo' session, as we have seen. And he was a frequent and welcome voice in the Central Avenue clubs and jam sessions. Dexter Gordon and Wardell Gray complemented each other both musically and in their physical appearance.

Both were tall, handsome men with commanding stage presence. Dexter stood six foot five and had an athlete's matching build, while Wardell almost as tall - had a slight, willowy frame. Their musical styles seemed to match their physiques. Both had originally based their tenor styles on Lester Young's pioneering work of the thirties, although each subsequently modified his style under the influence of Charlie Parker.

Dexter's tone had a harder edge to it, and his brusque solos incorporated more of Charlie Parker's fire. Wardell, especially during this period, remained more under Lester's spell; his solos were lyrical, his tone light. Both were relaxed swingers who could cope with any conceivable tempo, and each dug the other's work. In the latter part of and early they met often onstage in the Central Avenue clubs and increasingly came to be recognized as a duo simply because they would outlast and outplay the other musicians.

One of the regular listeners at these events was Ross Russell, who naturally thought of the opportunity this pairing presented for Dial records. It seemed like a good idea to get them into the studio and record it. At the time, recording techniques and equipment were not equal to the task of recording on location, so a 'live' date was out of the question.

The problem and it remains one for jazz recordings to this day was how to retain the spontaneity and excitement of a nightclub atmosphere in the formal and even sterile confines of a recording studio. MacGregor studios on 12 June to see if they could overcome the difficulties. As it turned out, the results of the session exceeded everyone's fondest expectations.

The tune decided upon for the tenor-sax chase was an original of Dexter's, entitled simply 'The Chase'. An eight-bar introduction - Charlie Parker would use it later on his recording of 'Klactoveesedstene' - is followed by a statement of the theme in unison. The theme itself is based on a motif almost as old as jazz, the Alphonse Picou clarinet obbligato for 'High Society'. Both Louis Armstrong and Charlie Parker had incorporated the lick in earlier recorded solos.

Dexter takes the first solo, stretching out for a complete chorus, then Wardell answers in his contrasting style. They each take one more chorus, then relinquish the mike to Jimmy Bunn. After the piano chorus, the real chase begins.

Wardell leads off this time for 32 sixteen bars and Dexter becomes the counter-puncher; this order remains as the length of the exchanges shortens to eight and then to four bars each while the excitement mounts apace. Finally there is a restatement of the theme, with the intro tagged on as a coda. It also gathered a great deal of critical acclaim. Martin Williams, for instance, has written, 'It was one of those rare records that not only went beyond the studio but had an excitement that's rare even in a club.

Dexter later attempted to analyze the situation. Somehow my thing with Wardell was never exploited - at least in a positive way. There was nobody to promote it. We did things together, but it would just be a different club every night.

We talked about traveling together, but in those days there were few managers or promoters around who might be interested. Most of the people in the business were gangsters. And also our personal lives were pretty chaotic - we weren't the most stable people in the world. Nor was Gordon's statement about the gangland influence in jazz mere hyperbole; many nightclubs and small record companies of the time were indeed run by gangsters. Dexter cut three more tunes the same day, all with Wardell laying out.

These quartet performances are only a little less interesting than 'The Chase'. The first, 'Chromatic Aberration', was an up-tempo original of Dexter's with as the name suggests a great deal of stepwise chord movement. Next came a ballad long associated with Coleman Hawkins, 'It's the Talk of the Town', showcasing Gordon's romantic approach. Finally there was another Gordon original, 'Blues Bikini'. The form is one long favored by jazz musicians, a blues with a channel: that is, an AABA tune in which the A sections are twelve-bar blues.

In this case, a minor blues. Dexter's solo is well constructed, with no superfluous notes. There seems to have been doubt among some jazz writers as to whether the title refers to the bathing-suit or to the island; both were in the headlines in Gordon's sardonic subtitle - 'All Men are Cremated Equal' - leaves no doubt as to which he was thinking of.

Dexter recorded two other times for Dial in The first session, which actually took place a week before the pairing with Wardell Gray, featured trombonist Melba Liston. Only twenty-two at the time of the session, she had been playing professionally from the age of sixteen.

She had started out with a community youth band organized by Alma Hightower, a great-aunt of alto saxophonist Vi Redd. Melba credits Mrs Hightower with recognizing and developing a great many talented youngsters. We played at the YMCA, dances, churches; we'd play on street corners and pass the hat and all that kind of thing.

New York : Seaview Books, , 9. Although she thinks of herself primarily as an arranger, her skills as a trombonist were always recognized by other musicians. Obviously Dexter thought highly enough of her to call her for the recording date.

Melba herself thinks the opportunity might have been a bit premature:. When [Dexter] got his record date, he said, 'Come on, Mama' - I think they were callin' me Mama already back then, 'cause I used to fuss with them about smokin' their cigarettes or drinkin' their wine - and they'd come and get me when something was goin' on, and I would play little gigs with them.

I was scared to go in the studio, though, because I didn't really hang out with them when they were jamming and stuff. I was home trying to write, so I didn't have that spirit on my instrument as [an] improvisational person. I was really very shy. I really didn't wanna make that record session. I don't know which was worse - makin' it or trying to persuade them to leave me out of it. I'm happy for it now.

I'd rather not hear it, however. Melba takes a sixteen-bar solo on 'Mischievous Lady'. She doesn't take many chances, but it's a competent performance, certainly nothing to be ashamed of. On 'Lullaby' taken at a much faster tempo - Melba is heard only in the ensembles. In later years, as she gained experience and confidence, Melba Liston became a much sought-after performer; she was a member of the Quincy Jones all-star orchestra that toured Europe in and , playing alongside such musicians as Jimmy Cleveland, Quentin Jackson, Phil Woods and Clark Terry.

Dexter Gordon's final session for Dial was held in December of This was on the eve of an American Federation of Musicians recording ban, and the record companies were scrambling to get a backlog of masters in their vaults to issue later during the ban.

Once again Ross Russell obviously thinking of the sales of 'The Chase' proposed a tenor-sax battle this time pitting Gordon against Teddy Edwards. Dexter opened the proceedings with two ballad performances, 'Ghost of a Chance' and 'Sweet and Lovely'. Teddy Edwards then joined Dexter for the tenor-sax chase. In this case there is an alternative strain in the second eight, so the tune's format is ABCA. The order of solos is much the same as for 'The Chase': two full choruses each by Gordon and Edwards, a chorus by Jimmy Rowles, then the chase sequence - a series of increasingly shorter exchanges culminating in a chorus of simultaneous improvisation.

Both Gordon and Edwards are straight ahead, damn-the-torpedoes swingers. If there is more excitement at times on 'The Duel', there is withal a loss of warmth and relaxation compared with 'The Chase'. Still, the performance sold well and boosted the reputations of both saxophonists. As had been the case with an earlier ban during the war years, the issue was the lack of royalties accruing to musicians for records played on the radio and on jukeboxes, and as also had been the case with the earlier ban, this one was only partially successful.

The second ban began on 30 December , and lasted until the following December. There was some clandestine recording, especially by the smaller independent labels, but for the most part the ban held. Unfortunately, it hurt the young modern-jazz movement almost as much as it did the major record companies who were its prime target. Ross Russell has argued that the ban marked the end of the bebop era.

Although that's an exaggeration - many sides cut by Parker, Gillespie, Bud Powell and others in the years are considered classics of the genre - it does seem as if the style traced a declining trajectory from that time on. Certainly the Los Angeles jazz scene was hurt by the ban. Ross Russell had already moved the headquarters of Dial records to New York to be closer to his major artist, Charlie Parker; the Dexter Gordon-Teddy Edwards session was in fact the last Dial date to be held on the coast.

Faced with the impending curtailment of all recording, the musicians scrambled to place themselves in favourable situations. Dexter left for New York a more promising ground for freelance jazzmen shortly after the Teddy Edwards session, and sat out the ban in the Apple. Wardell Gray also left town the following spring to work with the Benny Goodman Sextet. Once again Los Angeles seemed destined to slip out of the ken of the jazz audience. One other musician who would eventually make an even larger impact on the jazz scene was in the meantime practicing his craft in relative obscurity.

Charles Mingus is now recognized as a major composer and one of the finest bassists in jazz history, but much of that recognition came belatedly. In fact, many of the compositions that critics and fellow musicians lauded in the late fifties and early sixties had actually been composed - and some even recorded - a decade or more earlier in California.

His mother died when he was less than six months old, and Charles was raised by his father, a quick-tempered retired army sergeant, and a loving but religiously strict stepmother. The elder Mingus bequeathed his son not only his temper but his light skin, and so placed Charles in an ambiguous position which would cause problems throughout his life.

Watts , in the s, was a mixed blue-collar neighborhood which was only beginning to receive the influx of black families that would transform it in later decades to an overcrowded black ghetto. As a child, Mingus was not fully accepted by either his black or white schoolmates, and so came to feel that he was, as both the title and contents of his autobiography make clear, Beneath the Underdog. The Mingus household was self-consciously middle-class and jazz music was definitely not allowed, but Charles did get an introduction to black music by attending the neighborhood Holiness Church with his stepmother.

One of the instruments used to provide accompaniment to the gospel-style singing in the church was a trombone, and this was Charles's first choice as an instrument. Unfortunately, his initial instruction by the church's choirmaster was lackadaisical at best, and Charles had to pick his way mainly by ear. Woodman, two years Mingus's senior, came from a musical family - his father, William Woodman Sr. Nevertheless, he was more amused than annoyed by the youngster's chutzpah and took Charles under his wing.

Britt suggested that Charles take up the cello, since one was needed in the school orchestra. This Mingus did, but again his training was haphazard and largely by ear. He did get some help from his sisters Grace, a violinist, and Vivian, a pianist, and the three formed a trio which played concerts at the Methodist church his father attended.

None the less, he was later denied a spot in the Jordon School orchestra. Finally one of his classmates at Jordon, Buddy Collette, suggested that Charles take up the double bass, and thus won Mingus's lifelong gratitude and friendship.

Buddy also introduced Mingus to bassist Red Callender, and for the first time at the age of sixteen Charles received adequate instruction on his chosen instrument. He was the one person who could calm Mingus down when the bassist's explosive temperament was set off. III, No. Buddy also introduced Charles to Lloyd Reese, and Mingus began studying piano and music theory with Reese. He was soon playing in Reese's Sunday-morning rehearsal band that met in the union hall of the segregated Local Dexter Gordon was also in the band at the time.

Marshall Royal, Ernie's older brother, was playing lead alto for Les Hite at the time. Buddy remembers Charles's intense enthusiasm throughout this period:. He was at my house every day for two years - bringing his bass from th St to 96th St , carrying it on his back - to practice and jam with me. And also when we started rehearsing in Los Angeles, which was a long trip from Watts, we'd get the Red Car [Pacific Electric interurban] at rd St, and Mingus was so excited about playing, he'd get on the car and zip the cover off the bass, and we'd start jamming on the streetcar He was always a very open guy with all his thoughts: 'Let's play!

Are we gonna play today? It was also during this period that Charles began to concentrate on writing, and two of his compositions that would not be recorded until decades later were written in these pre-war years: 'The Chill of Death' and 'Half-mast Inhibition'. Following high school Charles seriously considered working for the post office mainly due to his father's insistence but finally opted for music - which meant several years of scuffling.

When World War Two broke out many of his friends, including the Woodman brothers and Buddy Collette, joined the service. Charles failed his medical and continued to gig around Los Angeles. In he toured briefly with the Louis Armstrong orchestra, but quit when he found out the band was going on an extended road trip through the South.

He then worked intermittently with Lee Young's band at the Club Alabam. Dexter Gordon and Art Pepper were in the band at the time. He also kept up his studies on the bass, first with Red Callender, then for several years with Herman Rheinshagen, formerly with the New York Philharmonic. By Mingus was well on his way to becoming one of the finest bassists in jazz. Charles also began to record in , mostly as a sideman on pick-up sessions for obscure labels. There were dates with both Russell Jacquet and Illinois Jacquet that were as much rhythm and blues as jazz, and others that found Mingus backing vocalists Ernie Andrews and Dinah Washington.

There were also dates under Mingus's own name in the summer of and January for the Excelsior label. Nevertheless, the second session produced the first recording of 'Weird Nightmare', a ballad which would become a staple in the Mingus book. In the spring of Mingus and Buddy Collette home from a stint as a navy bandleader helped form a co-operative group known as the Stars of Swing, which should have - but didn't advanced the careers of all its participants.

The band did, however, have a memorable run at the Down Beat club on Central Avenue. Buddy still looks back on the band with fondness and the sense of a missed opportunity:. It was an exceptional band because of the guys and because about five of us wrote: Mingus, Lucky, John Anderson, Spaulding Givens and myself. Lucky also had some arrangements by Jimmy Mundy for seven pieces.

We rehearsed for about a month - none of the guys were busy at that point and we'd rehearse at Mingus's house every day, five, six, seven hours. We'd go have lunch and come back and work on dynamics; we did everything possible to have a good band It was better than anything around, because when you've got that kind of talent and you work that hard, well So when we went into the Down Beat, people couldn't believe it; their mouths fell open.

What is that? How could they be this good? Unfortunately, the band didn't last much longer than its six-week engagement at the Down Beat. Worse, it was never recorded. Britt Woodman remembers that they did audition for one company, but the label soon folded and the demos were never found. With the break-up of the Stars of Swing, Mingus returned to freelancing once more.

In May there was an octet date under his leadership for 4 Star records in which 'Weird Nightmare' was again recorded under the title 'Pipe Dream' as well as another ballad entitled 'This Subdues My Passion'. Later in the year he played a one-nighter with an otherwise all-white bebop group led by altoist Dean Benedetti; the band also included trombonist Jimmy Knepper, who would later be a mainstay of the famous Mingus groups of the late s.

The following year, , proved to be pivotal in Mingus's career. Early in the year he somehow managed to talk Columbia records officials into recording his composition 'The Chill of Death' with a large studio orchestra. Although the recording was never released - it was undoubtedly far too 'advanced' for the Columbia brass - it did bring encouraging comments to Charles by none other than Charlie Parker, who was present at the recording session.

Then in the summer of Mingus was hired by Lionel Hampton, which finally led to national recognition for the young bassist. In November the Hampton band recorded Charles's composition 'Mingus Fingers', an up-tempo number on 'I Got Rhythm' changes that featured an extended bass solo by Mingus. The recording was for Decca, which meant national distribution for the side. Mingus toured with the Hampton band through most of the year of the recording ban but returned to LA to freelance late in the year.

The exposure he had got with the Hampton orchestra had undoubtedly helped his reputation, but that didn't translate immediately into superior jobs; he was once again forced into a routine consisting largely of casuals and one-nighters. It was one such gig, however, that led indirectly to a momentous shake-up of the Los Angeles music scene. Sometime in Mingus was called to play for a big band backing singer Billy Eckstine in a concert at the Million Dollar Theatre.

Buddy Collette remembers what happened next:. I don't know who called the band together, but Billy was coming to town and the contractor usually does that. And it was an all-white band, except for Mingus, who is very light-complected. He didn't like that and he hassled all those guys, made them all feel uncomfortable.

What are you guys, prejudiced or something? And a lotta times that's good, too, because he was saying something that most people would just [shrugs his shoulders], but he brought it out in the open. And it got to the point where guys were trying to avoid him, but it was still the truth I probably wouldn't have said anything, but sure would have felt it: 'Hey, it would have been nice if they would have hired a few blacks.

It was this incident which eventually led to the amalgamation of the segregated Los Angeles Musicians' Union locals. Collette and Mingus discussed the situation with a few others and came to the conclusion there would never be an influx of black musicians into well-paying jobs as long as the musicians' locals were segregated. They set about rectifying that situation and immediately found that it wouldn't be easy.

Don't rock the boat. He suggested joint meetings, but I knew many of our guys wouldn't come to meetings, so I suggested starting an integrated rehearsal orchestra, in this case a symphony orchestra, because that would prepare everyone for studio work. I knew I needed it, because on flute there were still things that gave me trouble. Milt said, 'Get as many blacks or other minorities as you can, and I'll fill in the other spots. We had our first rehearsal at Town Hall Nobody had heard of an interracial symphony orchestra before.

Blacks and whites playing symphony music together? Players from the LA Symphony volunteered, wanted to be part of this. Forming the orchestra was an important first step, but progress was slow; it took three years in all - the unions did not merge until - and by that time Mingus was no longer in Los Angeles to enjoy the fruits of his labors.

Through he gigged around LA, taking such jobs as were available. There were recording sessions for the Dolphins of Hollywood label named after a hip music and record store miles from Hollywood in south LA and another for the Rex Hollywood label. These records sunk almost immediately out of sight, following the earlier 4 Star and Excelsior sides into oblivion.

Discouraged by the lack of opportunities, he dropped out of music completely by the end of the year and took a job with the post office. He was still working as a mailman the following year when Red Norvo, came to town for an extended trio gig at The Haig and found himself in need of a bassist. Pianist Jimmy Rowles recommended Mingus and Charles readily accepted the job. The group was another manifestation of the trend towards cool jazz during this period, but it would be hard to think of a better showcase for Charles's by now phenomenal technique on bass than the trio.

The dynamics were such that the bass was on an equal footing with the other instruments, and Mingus was able to use his entire arsenal, including arco solos, double-stops and counter melodies. It was probably no accident that Gerry Mulligan, having listened to a later edition of the trio at The Haig, applied much the same principals of group dynamics and interaction to his original quartet. By the close of , the Norvo trio was high in the polls of the trade magazines, and Charles was beginning to get some of the attention he deserved.

There had been a road trip to Chicago during the year, and in the summer of the group travelled to New York for a successful run at the Embers. At this point things began to go awry. The trio was invited to appear on a series of television broadcasts from station WCBS with vocalist Mel Torme, but the station executives, fearful of offending sponsors and Southern sensibilities, decided that a white bassist would be a better choice.

Red Norvo was unhappy with the decision but felt the professional opportunity was too good to miss and reluctantly went along. He did offer to retain Mingus on the job at the Embers, but Charles felt the time was right to try his hand at freelancing on the New York scene. In the meantime, back in Los Angeles , Buddy Collette was beginning to reap the dividends of the efforts begun several years before.

The inter-racial orchestra was still meeting regularly and often drew interested musicians as spectators. One auspicious night Jerry Fielding, musical director of the Groucho, Marx show, dropped by just in time to catch Buddy working out on a difficult part for solo flute. As Buddy recalls the evening:. So Jerry Fielding showed up, and this night I had a flute solo And after it was over, we all go out - it was in Hollywood , at Le Conte junior High - and I walk into Fielding, and he said, 'That was nice.

Too bad you don't play saxophone. So I said, 'I just study on flute; I also play sax and clarinet. A couple of days later, Fielding's contractor contacted Buddy and old him he had the job. The bandleader was dubious about Buddy's reading, and set up a meeting before the first show. We went to a little Italian restaurant and he showed me the book so that I could see what I had to do.

I was glad of that, although I was a good reader by then, with all my studies and the symphonic orchestra experience. The hard part was not so much the notes, which I would make OK, but the routine they had on Groucho's show. Remember the secret word routine, when the duck would come down when a contestant said the word?

The orchestra had to go immediately into the piece of music appropriate to that, and there were other routines we had to follow dependent on things that happened during the show We tried it a few times so that I could get used to it, then walked over to meet the other musicians. They didn't know who was coming in, just that there were two new guys. They were really surprised, but friendly, and Groucho came in and said, 'Hey, I see we have a new guy.

We got into it, and it went well; I don't think I missed anything, but if I did, it wasn't noticeable. The guy sitting next to me, first alto, said, 'Man, nice to have you around Things were beginning to move: Buddy Collette's personal breakthrough took place in , and the merger of the unions was finally achieved the following year. A benefit at the Club Alabam featured entertainers like Nat Cole and Josephine Baker and attracted much press attention; other public figures, including Frank Sinatra, spoke out.

A slate of the musicians favoring amalgamation - including Marle Young, Benny Carter, Bill Douglass, John Anderson and Collette - finally wrested positions on the board of Local and forced the old-guard leadership to negotiate.

At the same time supporters in the white union Milt Holland, Phil Sobel and George Kast among them worked towards the same end. In large part it was simply a matter of drawing the attention of the white musicians to some of the practices that had been going on. Buddy Collette pointed out:.

Another thing, was that our union was like a subsidiary - it wasn't supposed to be, but if a good job happened to come in to the black union, the president would have to call the white union to see if we could take it Also our dues, when I did Groucho, were about half that of the white union. And when the guys found that out they screamed. All of the pressure finally paid off in when the unions were finally joined into the single Local At this point we'll have to backtrack to pick up a few threads in our narrative.

In both Dexter Gordon and Wardell Gray had left Los Angeles , largely because of reduced playing opportunities due to the recording ban. Dexter spent the next few years freelancing in New York , while Wardell joined one of the biggest names in the business, Benny Goodman.

Benny had heard Wardell in concert while visiting the Coast, and was sufficiently impressed to hire the young tenor man for his new septet. In September there was a clandestine recording session for Blue Note with Tadd Dameron's sextet that produced the lovely 'Lady Bird', and in November Wardell rejoined Benny Goodman in the latter's newly-formed big band.

He recorded several times with the band, but his best sides with Goodman were those recorded in a septet format, 'Stealin' Apples', 'Bedlam' and 'Blue Lou'. All were cut in LA and are fascinating blends of Goodman's swing style and the more adventurous styles of the younger bop influenced musicians in the band, including Wardell, trumpeters Doug Mettome or Fats Navarro, and drummer Sonny Igoe.

Benny himself was never especially comfortable with modern jazz, but he was a strong admirer of Wardell's. Because he's wonderful. One of these sides, an original blues line named 'Twisted', featured a solo that quickly became a favorite of other musicians.

Singer Annie Ross later put words to Gray's solo and came up with a hit vocal. Shortly thereafter, Benny Goodman broke up his band and Wardell went with Count Basie, who was then touring with an octet. A Sunday jam session at the Hula Hut, a club on Sunset Boulevard, was the site of a reunion with Dexter Gordon, and this time recording equipment was present to catch the event 'live'. The two tenors were joined by Clark Terry, the trumpet player with the Basie octet, and altoist Sonny Criss, one of LA's brightest stars.

Two extended performances on bop standards, 'Move' and 'Scrapple from the Apple', were recorded and released by Prestige. Each tune took up four sides of two 78s. Wardell's style by this time had changed; he was no longer a single-minded devotee of Lester Young. His tone has a harder edge to it than had been the case on previous records, but his indebtedness to Prez is still evident in his phrasing. Dexter lays out on 'Scrapple', but his absence is more than made up for by the fiery alto work of Sonny Criss.

On 'Move' released as 'Jazz on Sunset' , Dexter and Wardell engage once again in a heated chase, both negotiating the rapid tempo with ease. Clark Terry adds much to the proceedings on both tunes with his fluid, fluent trumpet lines. Wardell also recorded several times during this period with the Basie octet, but his best solo work with Basie came the following year with the leader's newly reorganized big band. Perhaps because he was holding down the chair once held by Lester Young in the band, Wardell's style on 'Little Pony', recorded in April of 1, once again reverts to a pure Lestorian mode.

Shortly after the big-band sessions, however, Wardell gave Basie his notice and returned to the West Coast to freelance. He was to spend the remainder of his tragically shortened life based in Los Angeles. Wardell's move was a popular one with the younger Los Angeles jazzmen. Of the regular players along Central Avenue , Wardell Gray, Dexter Gordon and Teddy Edwards and Bird when he was in town were the keepers of the flame, the ones the younger players held in esteem for their ideas and experience and consistency.

Wardell was like a big brother to me When white fans in the clubs came up to speak to us, Wardell would do the talking while the rest of us clammed up and looked funny Aside from Bird he was the player we looked up to most, one of the few of the older, experienced cats who wasn't strung, and when he'd now and then counsel those of us who were starting to fuck with dope to get ourselves together and straighten up, we may not have accepted the advice, but neither did we resent it.

Hawes and several other up-and-coming LA musicians were featured on Wardell's recording date for Prestige in January Art Farmer, the trumpet player on the date, had moved to Los Angeles from Phoenix in Since then he and his twin brother Addison, a bassist, had played with many top jazzmen, including Charlie Parker.

Hampton Hawes was a native Angeleno as was drummer Lawrence Marable. Bassist Harper Crosby and conga drummer Robert Collier rounded out the rhythm section. The group recorded six tunes in all. The latter was something of a hit for Prestige, and once again Annie Ross paid Wardell the compliment of penning words to his and Art's solo and recording the tune as a vocal.

The following year found Wardell in another recording session for Prestige, his last for that company. The session was under the leadership of vibraphonist Teddy Charles, a visitor to the Coast, but the other musicians were all resident Angelenos. Wardell and Lawrence Marable were hold-overs from the 'Farmer's Market' date.

Dick Nivison played bass, and a recent arrival, Sonny Clark, sat in on piano. This session also marked the recording debut of Frank Morgan - aged nineteen but already an altoist of surpassing ability. His father, guitarist Stanley Morgan, ran an after-hours club named the Casablanca at the time; Charlie Parker was a frequent attraction. Like Hampton Hawes, Frank Morgan was playing professionally while still in high school, and his playing on this session exhibits an authority that belies his youth.

Four tunes were cut on the Charles date. Then Teddy Charles jumps in and doubles the tempo again, and it stays at a breakneck pace for solos by Frank Morgan and Wardell. Sonny Clark 's 'Lavonne' is an up-tempo blues, paced by an agile Clark and soulful Morgan. The two remaining tunes are both Teddy Charles originals.

For some reason, Wardell's work here is something of a let-down; his solos seem a bit perfunctory, and they suffer in comparison with Frank Morgan's spirited lines. Of course this was Teddy Charles's session, but Wardell had previously managed more than to hold his own with leaders as disparate and forceful as Charlie Parker, Dexter Gordon and Benny Goodman. Perhaps the experimental character of some of the compositions put him off; Wardell's forte had always been straight-ahead swinging.

Perhaps he just had an off day. In any case, he does not reach the heights he had gained in previous recordings. With the benefit of hindsight, we can see that Wardell's career was in slight but irreversible decline by this time anyway. For one thing, jazz had turned a corner by early Bebop was no longer the only, nor even the dominant, form of modern jazz. Certainly bebop was still being played - as for instance by Charlie Parker, Dizzy Gillespie and Bud Powell at their reunion in Toronto's Massey Hall of that same year - but musical styles were changing radically, especially on the West Coast.

Then too, some time during this period Wardell ensnared himself in the trap that took such a toll among the jazz masters of the forties and fifties. The man who had been admired by Hampton Hawes as a clean influence finally succumbed to drugs. The habit may well have cost Wardell his life. Wardell's last recording date came early in as a sideman for Frank Morgan.

Norman had already recorded the altoist in the company of an Afro-Cuban rhythm section, augmented by organist Wild Bill Davis. The results of that session are hardly memorable, but the date with Wardell is quite a different matter. Trumpeter Conte Candoli joins Frank and Wardell in the front line, and the three horns are supported by the powerful rhythm section of pianist Carl Perkins, guitarist Howard Roberts, bassist Leroy Vinnegar, and Lawrence Marable.

Carl Perkins has a tender solo on 'Flame', while Howard Roberts works closely with the altoist and contributes a fine solo on 'Nearness'. Four other tunes feature the entire septet. Wardell, who is in fine fettle throughout the session, contributes commanding solos on both. The two remaining tunes are both up-tempo swingers. Everybody has a ball on this one. The critical acclaim that greeted these sides boosted Frank Morgan's already fast-rising reputation and should have guaranteed him a place in the front ranks of jazz altoists, but sadly he was soon sidetracked by personal problems.

Shortly following the recording session Morgan was busted for drug violations and spent a year in jail. His faltering career never quite righted itself and he spent several decades either behind bars or devoting his free time to extra-musical distractions. At that, he was luckier than Wardell Gray.

The tenor saxophonist, whose work contributed so much to the Frank Morgan sides, was dead before the album was even released. Wardell had landed a job with the Benny Carter big band, which had been hired to play for the opening of a new hotel in Las Vegas. The Moulin Rouge hotel and casino had been built specifically to cater to the city's black visitors and gamblers.

Two days following the hotel's opening, Wardell Gray's body was found in the Nevada desert, his neck broken. The official report claimed that he had died of a drug overdose, although no autopsy seems to have been performed. There were rumours at the time that Wardell had been the victim of a gang-style execution over gambling debts. In any event, the investigation was not pursued; the Nevada officials didn't seem overly concerned about the cause of death of a visiting black musician.

Wardell Gray's death came a scant three months after Charlie Parker's passing, and the proximity of the two deaths underscores the similar fates that had overtaken the two men. These two giants of the bebop era both died neglected figures, bypassed by the winds of fashion. Parker - due to the lack of job opportunities caused by his reputation as an unreliable performer - had very nearly been relegated to the 'whatever happened to?

And while Gray seems to have been working fairly steadily during his final years, more often than not the jobs came in the form of casuals or as sideman on recording dates for smaller labels, a roll ill befitting his stature as an artist.

Not one but two revolutions had changed the course of jazz since the two had come to prominence in the mid-forties. In , a series of recordings by Miles Davis and by Lennie Tristano had ushered in a style known as cool jazz. This style was to dominate jazz during the early fifties, and both Parker and Gray were thought in some quarters to be pass6. And although a counter-revolution had been launched in once again led by Miles Davis its popularity would come too late to help the careers of either Bird or Wardell.

Both had to suffer the all too common fate of great artists in any field: re-evaluation and belated recognition of their accomplishments only following their deaths. In the meantime, the music being given the widest attention in Los Angeles the year of Wardell's death was a variant of the cool style known as West Coast jazz.

It was a style that had been developed, and was largely played, by white studio musicians based in Hollywood. At the height of its popularity in the mid-fifties, West Coast jazz spawned an acrimonious debate that rivaled that of the boppers and the Moldy Figs a decade earlier. In truth, this new style was neither as fresh and innovative as its partisans claimed, nor as anonymous and reactionary as its detractors held.

To trace its beginnings we have to turn our attention to certain events that followed the recording ban in New York City. If the recording ban of did not mark the demise of bebop, it did herald the birth of a new phase of modern jazz. In September of that year a nine-piece band led by Miles Davis played a short engagement at New York 's popular jazz club, the Royal Roost.

The group differed markedly from the typical bebop combos of the day in both size and instrumentation. Six horns trumpet, trombone, French horn, tuba, alto and baritone saxophones gave the band's arrangers a broad palette of orchestral colors to work with. And basically the Miles Davis nonet was an arranger's band. It had been formed as a vehicle for the ideas of a group of young musicians who gravitated around Miles and Gil Evans, the arranger for the Claude Thornhill orchestra.

Although the band was not to prove a popular success it would make only two brief public appearances , the Miles Davis nonet would exert an influence over the subsequent development of jazz entirely out of proportion to its brief moment on stage. These in turn led to a fruitful and longstanding friendship between Evans and Miles Davis.

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