posted by Robert J. Carmack #@blues2jazzguy

mcCoy Tyner  & BOBBY

It was announced recently by Publisher/Editor in Chief , Robert J. Carmack, Hipster Sanctuary.Com is expanding it jazz menu to include a hip and stimulating Jazz  radio show featuring  past, present, and emerging Jazz artists inside an hour interview format.

NIGHT JOURNEY REWIND (NJR) is hosted by veteran radio producer /On-Air personality, James Graves.The partnership was an idea of the two Jazz enthusiasts Robert J. Carmack and James Graves. “We’re attempting to fill the void of knowledgeable jazz radio personnel/journalists for the serious jazzy-philes who are seeking classic Jazz programming, and instant historical jazz content (Play On Demand).” said Carmack “All of this at a single source(www.hipstersanctuary.com.”

Debuting on July 4th, the Fireworks begin at midnight. the  curious person simply go to, http://www.hipstersanctuary.com and click on the Night Journey Rewind icon/hot link.

This opens up and provides the jazz fan access to the entire NJR archives for their selections by month or year,or, whenever they want it. the most recent Interviews with be under the “Featured  Interviews of the current month”  All previous interviews are listed in NJR’s  PODcast Archive section,  including a 1985 interview with iconic drummer Philly Joe Jones. How about a frank chat with tenor saxophonist Teddy Edwards? and, most recently, the highly touted percussionist/drummer, Famoudou Don Moye, to name a few.James Graves radio Jock pix

Mr. James Graves has dedicated over 25 years to broadcast production. He began his career as an on-air personality and Program Director for the popular college jazz station KXLU in Los Angeles, California.

During his tenure at KXLU James produced Night Journey – a radio show, where he interviewed many of the Jazz greats such as, Donald Byrd, Philly Joe Jones, and vocalist Janis Mann. In the mid 90’s, Night Journey was syndicated by the Pacifica Radio network broadcasting across the United States.

Rebranded in 2012’s, Night Journey became Night Journey Rewind (NJR); a weekly one-hour radio series of revealing conversations with pioneering legends and today’s entertainers. Kawseff Productions and Orion Brown produce the series which airs weekly through the website http://www.nightjourneyrewind.com®, and global podcast service providers.

Mr. Graves resides in the Los Angeles area and notes, “These writers/performers personify greatness and have developed loyal audiences worldwide , said Graves. NJR’s commitment to our listeners is to preserve the foundations of Jazz and contemporary artistic talent, honoring a well deserved legacy for the inspiration of future creative performance.”



posted by Robert J. Carmack #@blues2jazzguy

June 20, 1928 – June 29, 1964.

Eric enjoying the Sun and his Bass Clarinet
Eric enjoying the Sun and his Bass Clarinet

Eric Dolphy  C   sweater

Eric Dolphy  A


posted by #@blues2jazzguy  Robert J. Carmack

John Patton, often known as “Big John” Patton, was one of Blue Note Records most active soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton developed 11 albums’ worth of material as a leader and “sat- in” with an enormous procession of skilled improvisers. Arguably his best work has since been compared with that of  innovator Larry Young.

big-john-patton Color -300x300Patton was born in Kansas City, MO, on July 12, 1935. His mother was a church pianist who encouraged her son to learn the instrument. He began to play at the age of 13. During the mid-’50s, Patton worked in bands accompanying rhythm & blues singer Lloyd Price.    By 1961, he had switched over to the organ, advancing along the trail blazed by Jimmy Smith, Shirley Scott, and Brother Jack McDuff.   It was alto saxophonist Lou Donaldson who initially took Patton the organist into a recording studio first on May 9, 1962, to tape an LP to be called The Natural Soul, then on January 24, 1963, a lengthy session that yielded enough material for the albums “Good Gracious and Signifyin’.”   john_patton  OH BABY  Band W sister

On February 2, 1963, Patton sat in  on Jimmy Smith’s Rockin the Boat session  playing only a tambourine. He spent the rest of that year making great music as a leader and sideman, jousting ideas and energies with his close Blue Note collaborator guitarist Grant Green (on the album Am I Blue?) and with saxophonists George Braith (on Patton’s Blue John), Harold Vick (on Steppin’ Out!), Johnny Griffin (on Soul Groove), Don Wilkerson (on Shoutin’), and Red Holloway (on Burner). john_patton WAY I FEEL BIG NOW

Over the next few years Patton recorded with trumpeter Richard Williams (on Patton’s Way I Feel) and vibraphonist Bobby Hutcherson (on Patton’s Let ‘Em Roll), and also appeared as a catalytic agent on Grant Green’s album Iron City, George Braith’s Laughing Soul, Clifford Jordan’s Soul Fountain, and drummer Grassella Oliphant’s Grass Is Greener with trumpeter Clark Terry and saxophonist Harold Ousley. In 1968 Patton’s recording unit included saxophonists Junior Cook and Harold Alexander. The last of his albums from this period (Accent on the Blues and Memphis to New York Spirit) featured saxophonists Marvin Cabell and George Coleman as well as guitarist James Blood Ulmer.

After 1970 Patton quit the scene for a long while, quietly residing in East Orange, NJ. He contributed to vibraphonist Johnny Lytle’s Everything Must Change in 1977, recorded his own Soul Connection in 1983 with guitarist Melvin Sparks and visionary trombonist Grachan Moncur III, then cut two albums with guitarist Jimmy Ponder: Mean Streets: No Bridges (1987) and Jump (1988).    big-john-smoke NOW patton

Big John Patton’s comeback began in 1993-1994 with two albums featuring saxophonist John Zorn: Blue Planet Man and Minor Swing. Here he touched upon edgy ground similar to that which he had explored in 1968. His last major album, This One’s for J.A., was recorded in December 1996. On March 19, 2002, 66-year-old John Patton succumbed to diabetes and renal failure. Overshadowed by organists who for one reason or another enjoyed greater popularity, and still underestimated by many jazz critics and historians, Patton and his recorded legacy are ripe and ready for open-minded reevaluation~info courtesy of blue note records.


“While John Coltrane usually receives the most credit for bringing the soprano saxophone out of obsolescence in the early 1960s, Thompson (along with Steve Lacy) embraced the instrument earlier than Coltrane.”


Lucky Thompson June 16, 1924 – July 30, 2005   After playing with the swing orchestras of Lionel Hampton, Don Redman, Billy Eckstine (alongside Dizzy Gillespie and Charlie Parker), Lucky Millinder, and Count Basie, he worked in rhythm and blues and then established a career in bebop and hard bop, working with Kenny Clarke, Miles Davis, Dizzy Gillespie and Milt Jackson.  Lucky Thompson 3 soprano

Ben Ratliff noted that, Thompson “connected the swing era to the more cerebral and complex bebop style. His sophisticated, harmonically abstract approach to the tenor saxophone built off that of Don Byas and Coleman Hawkins; he played with Be-boppers, but resisted Charlie Parker’s pervasive influence.” He showed these capabilities as sideman on many albums recorded during the mid-1950s, such as Stan Kenton’s Cuban Fire!, and those under his own name. He recorded with Charlie Parker (on two Los Angeles Dial Records sessions) and on Miles Davis’s hard bop Walkin’ session. Thompson recorded albums as leader for ABC Paramount and Prestige and as a sideman on records for Savoy Records with Milt Jackson as leader.

Lucky  Thomp  2


ERROLL GARNER – Jazz pianist, was born on June 15, 1921, in Pittsburgh, Pennsylvania. Garner was influenced by Fats Waller and was entirely self-taught. He spelled Art Tatum in the latter’s trio in 1945 and subsequently formed his own three-piece group, achieving commercial success with Concert by the Sea (1958), which has been credited as one of the best-selling albums in the history of jazz. Garner’s best-known composition is “Misty.” He died on January 2, 1977, in Los Angeles, California.

Garner, Tatum and Count Basie
Art Tatum , Erroll Garner and Count Basie
Errol Garner  with masters  Art Tatum with Boogie Woogie masters Meade Lux Lewis and  Daddy Ammons
Erroll Garner, Art Tatum with Boogie Woogie masters Meade Lux Lewis and Albert “Daddy” Ammons
Erroll  Garner 1


posted by #@blues2jazzguy

Julian Meyers Tenor Sax

June 20th 5 pm Jazz Vespers

at Brooks Memorial Umc, Jamaica, NY. 143-22 109th Ave.

The event happens every third Saturday and features a different artist. This Month is featuring

Saxophonist  Julian Meyers Quintet:

Charles Carrington- Piano, Motoki Mihara-Bass                    Michael Quarles-Drums,Kevin Williams-Percussion

 Julian Meyers on saxes & vocals

Jazz Vespers  Julian Meyers


posted by Robert J. Carmack  #@blues2jazzguy

In a rare performance in Long Beach as part of a concept jazz band, Acknowledgement, Bobby West longtime resident of many European countries, had the audience eating out of his hands ,musically speaking. Fronting an able quintet made up of local L.A.musicians, West exposed his entire arsenal of styles and passionate compositions to the attentive and lively crowd. One such ballad in the 2nd set was commandeered without the horns and was just stunning, fueled obviously by his love for classical music that provided sublime phrasing and arpeggios in the solo portion of the composition, You are Too Beautiful.

My exposure to the nimble Bobby West was Early 90s in Los Angeles where he would frequent the local haunts like 5th street Dicks coffee-house or Billy Higgins World Stage in Leimert Park area of LA. Impressed by his rarely used “Locked-Hands” approach with advanced harmonics made for an interesting evening of listening to classic “cookers” such as MIlestones , Song for my Father and Theme from Alfie.  

In  the second set, he  introduced a Miles Davis jazz pearl , Solar with 12 bars of sublime classical tinged music that would make Beethoven or Debussy proud.

Int'l Jazz Pianist Bobby West
Int’l Jazz Pianist Bobby West

He often inter-mixed the classical etudes-like phrasing  with the locked-hand precision of a Red Garland.This was  pushed by the steady pulse and drive of veteran bassist Jeff Littleton, which was co-piloted by journeyman drummer Ishmael Hunter.  who by the way was celebrating his birthday. Rounding out the frontline was L.A. trumpeter Noland Smith and the Father of Saxophone sensation, Kamasi Washington , Rickey Washington on saxophones. Rickey brought down the house on a flute solo on the perennial “Summertime.”  One has to look high and low to find flautist who play bop-like phrases on a flute today. Overall, I was quite entertained and Soul satisfied,

I’m told Bobby Bobby West 1will be in town for another few weeks before striking out for Morocco. Gone six weeks, then back  again in Los Angeles until September, where he goes on the road for a nine-month stretch before his next return. In between gigs while on hiatus from the road, he can be found at the World Stage teaching music to kids and adults,

Bobby West 2 North Sea Jazz
Bobby West performing at North Sea Jazz Festival