posted by Robert J. Carmack #@blues2jazzguy
posted by Robert J. Carmack #@blues2jazzguy
by Kevin Goins – Music/Media Consultant/Contributor
RUDY VAN GELDER – IN MEMORIAM…..
Damn, Grim Reaper…bad enough we’ve seen many folks go to the Great Beyond before we hit mid-year, no thanks to you. And this week, you just had to go for the flippin’ trifecta. Toots, Steven Hill, and now this great master of recording engineering.
If you own any jazz albums released on labels such as Blue Note, Prestige, Verve, Impulse, MGM, CTI or KUDU, the name of RUDY VAN GELDER would be found in the credits.
A New Jersey native of which optometry was his original profession, Van Gelder began recording jazz musicians within the living room of his parents’ home in Hackensack (they later built an extension to their house to serve as a full-functioning studio). Word spread quickly to jazz labels, which resulted in many great, classic recordings being made with Rudy overseeing the engineering, mixing and mastering.
In 1959, five years after he launched his career, Rudy Van Gelder opened the now famous recording studio in Englewood Cliffs, NJ. And the records kept on coming.
Okay, the short list….
John Coltrane – A Love Supreme, Blue Train
Miles Davis – The Musings of Miles, Blue Moods, Walkin’, Miles Davis/Milt Jackson Quintet/Sextet
Charles Earland – Black Talk!
Jimmy Smith – The Cat, Bashin’, Who’s Afraid of Virginia Woolf, Monster, The Sermon
Wes Montgomery – Tequila, Bumpin’, Goin’ Out Of My Head, A Day In The Life
Lee Morgan – The Sidewinder,
Thelonius Monk – Hackensack
Modern Jazz Quartet – Concorde, Django
Hank Mobley Sextet – Hank
Sonny Rollins – Moving Out, Saxophone Colossus
Quincy Jones – This Is How I Feel About Jazz, Gulu Matari, Walking In Space
Herbie Hancock – Maiden Voyage, Speak Like A Child
Ray Charles – Genius +Soul=Jazz
Stanley Turrentine – Sugar
Willie Bobo – Spanish Grease
Cal Tjader – Several Shades of Jade
George Benson – Good King Bad, Body Talk, The Shape of Things to Come, The Other Side of Abbey Road
Deodato – Prelude, Deodato 2
Grover Washington, Jr. – Mister Magic
Esther Phillips – From A Whisper To A Scream
Like I said, folks…the short list. The man engineered over 2000 albums Y’all can Google the rest.
What made Van Gelder’s work stand out above the rest of the engineers? It was the way he was able to capture a warm, full sound via his mixing and engineering. Yes, the man had a penchant for reverb (listen to the Verve and A&M/CTI recordings) but at the same time, it did help create a dynamic effect.
Fast forward to the end of the 20th century and the beginning of the millennium – Van Gelder was commissioned by EMI to remaster his prior Blue Note works under the RVG Remastered Series – which also included recordings released on Capitol Records (Cannonball Adderly’s Mercy, Mercy, Mercy and Miles Davis’ Birth of the Cool albums).
Sadly, Rudy Van Gelder passed away Thursday, August 25th, at the age of 91.
What else can be said? Coming from yours truly, my appreciation for not only jazz but the way music and artists were recorded came from listening to the albums Rudy Van Gelder engineered and mastered. As a college student earning my degree in audio production, studying the man’s works was an absolute must.
As far as the time spent as a radio DJ at Ithaca College, one of many who hosted WICB-FM’s Jazz Impressions (1985-1988), there wasn’t a record I spun that didn’t have Van Gelder’s touch
To Mr. Van Gelder, thank you for making music and records sound so damn good .
Hard to choose one recording, so here are a few links….
MILES DAVIS/THELONIOUS MONK – “BEMSHA SWING”
HERBIE HANCOCK – “CANTALOUPE ISLAND”
JIMMY SMITH – “THE CAT” – http://bit.ly/1S2vAux
ESTHER PHILLIPS – “HOME IS WHERE THE HATRED IS”
posted by Robert J. Carmack
Bobby Hutcherson:1941-2016 The most accomplished vibraphonist and composer to emerge in the latter half of the 20th Century,has passed at age 75 Monday, August 15th. Bobby Hutcherson is survived by a wife and a bevy of family and close friends all grieving.
Hutcherson redefined the role of the Vibraphone in modern jazz.
A retrospective follow-up piece by music journalist and jazz historian, Robert J. Carmack coming soon to Hipster Sanctuary.Com .
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Support the Live Jazz and Spoken Word show, Night of the Grassroots Hip-Nosis. an evening of music by Bobby Hutcherson and Jackie McLean with original poetry
Saturday, July 30th 8pm The World Stage Performance Gallery
4321 Degnan Blvd. Los Angeles,California 90008
tickets & info call 951-840-7120
Music by PLIGHT – Robert J. Carmack leader & host
Bobby West – piano/music director
Reggie Carson bass, Derf Reklaw percussion
Dale Fielder-tenor sax/baritone sax
Cornel Fauler- drummer
special guest: TU’NOOK award-winning writer & poet
ROBERT J. CARMACK presents
NIGHT OF THE GRASSROOTS HIP-NOSIS: an Evening of Spoken Word ~Jazz Music of Bobby Hutcherson & Jackie McLean .
SATURDAY JULY 30 @ 8PM
The WORLD STAGE PERFORMANCE GALLERY
4321 Degnan Blvd.
Leimert Park Village(LA,Calif. 90008)
Featuring Plight (Jazz/Spoken Word Ensemble)
Guest Poet; TU’NOOK
Special Guest: Dale Fielder – saxophones
Tickets:early bird special before July 15th $15 (limited seating) afterwards $20 in advance $25 at door ~ Information regarding show or tickets contact Robert J. Carmack 951-840-7120
INTRODUCING PLIGHT Jazz Ensemble
Drums by Cornell Fauler(picture not available)
The music is a mixture of spoken word and jazz integrated into the compositions of iconic jazz artists Bobby Hutcherson and Jackie McLean. During the late 1950s and mid-1960s the record label, Blue Note churned out stellar music by saxophonist Jackie McLean. Stepping out of the shadows of Yardbird Parker and creating his own persona on alto, Jackie blazed his own unique trail that often borderlined on the Avant Garde.
His music held elements of bebop & swinging Blues numbers that captured the heart and soul of the hip new audiences that gravitated toward what became later known as, Hard-Bop. An eclectic mixture of truly adventurous, soulful artistry,while still retaining their integrity as jazz musicians.
Bobby Hutcherson is another bright spot of post bop masters to emerged onto the scene in the early 60s as a sideman to other peers and Heavyweights like Eric Dolphy. He grew into a first call vibist, embracing all of the pioneer’s skills on his instrument before him..like “Hamp”, “Bags” and Red Norvo to name a few.
After some very convincing recording sessions on Blue Note with other artists, it was not long before Hutcherson was commanding his own groups and recording sessions with authentic success.
Robert J. Carmack ,a jazz historian and archivist has chosen eight compositions. Four of which Carmack has written original poems that mesh with the songs that beckons a time in jazz history where, Poets and musicians often performed together.
The New York Greenwich Village and San Francisco “Beat Generation” hot spots often spawned great writers and poets including, the late poet laureate, Amiri Baraka (Leroi Jones).
Plight Playlist; McLean recordings~Riff Raff(Destination Out) Hipnosis(Hipnosis),Plight(Action) Blues in a Jiff (Vertigo)
Bobby Hutcherson Recordings~Night in Barcelona(San Francisco),Medina (Medina),Slow Change(Now!)Little B’s Poem(several albums).
The venue was chosen because of the long-standing history of these two giants working with the late founding member,Billy Higgins. Higgins was one of the most recorded drummer in jazz history and in-house drummer on Blue Note Records during its Jazz hey day of 1959-mid-1970s.
Carmack met Higgins at the early stages of the World Stage’s development while hanging out in the many workshops and performances. Robert witnessed Billy bring through Jazz icon after icon to the Leimert Park Village “digs”.
Many of these Legends would often stop through while in town for gigs ,conduct workshops or talk to young musicians who were struggling with their craft. Higgins was very approachable and would act as Jazz Griot in the artist community of Los Angeles. Higgins grew up as a kid on the “Eastside” of Los Angeles. As a young man ,he played with great musicians like Don Cherry, John Coltrane, Lee Morgan, Freddie Hubbard, Dexter Gordon, Ornette Coleman, Phineas Newborn, Sonny Criss, Gerald Wilson and others.
The World Stage is monumental in the development of this new wave of musicians, writers and artists in general. while they offer writing classes,jazz workshops, music presentations by student-level performers , professionals still participate in a great deal of their activities as a “passing of the baton by those who like to give back , just as their pioneer founders Higgins and poet laureate Kamau Daaood did over 25 years ago. Gone but not forgotten, a strong “tip of the hat” to the late great World Stage contributors, Horace Tapscott and Nate Morgan. Thanks to the other faceless but important contributors. The Legacy continues today as the Kamasi Washingtons sax, Drummer Willie Jones III, Saxophonist Dale Fielder, bassist Marcus Shelby keeps repeating over and over.
posted by Kamaad Tauhid #@blues2jazzguy
posted by robert j. carmack #@blues2jazzguy
SONNY ROLLINS SEPTEMBER 7 1930
Sonny Rollins turned 85 years old today . its hard to believe ,not because of his age, but, in spite of his age. He still holds court somewhere in the world on major stages blowing long, multi-note phrases, swinging violently on the most miniscule of sub-themes set up by his own improvisations. Very few things are more exciting than watching and listening to Sonny Rollins in Beast mode. My first experience seeing and hearing him was as a curious child watching 1950s television, that just happened to have a jazz band playing that night. I saw this really cool looking black man with a shiny horn , sun glasses and a Mohawk. I think it was Steve Allen or Jack Parr’s version of the The Tonight Show. Sonny Rollins was more than a jazz musician, he was a mentor to other jazz musicians, cultural and fashion icon whose influences went beyond the bandstand as well. He was the first black man I ever saw with a Mohawk (1959)..Quite the dresser on stage when he wanted to, He was the first I ever saw with clean-shaved head(1960s) and diamond-studded Ascot.
My first live Sonny Rollins concert, I was now 21 and living in Los Angeles 1971, he was performing at the museum of modern Art outside.. I watched with such wide-eyed delight as he swung so hard on unbelievable tempos, countered that with such tender,velvety arpeggios like he did on such classics as, I Can’t Get Started or Don’t Blame Me. Fast-forward to late 1990s and I’m now living in Atlanta Georgia watching a much older man with full head of snow-white hair and full beard, with a very nice suit with red “Chuck Taylor” Converse basketball shoes. This time his band personnel was young guys except for his long-time bassist Bob Cranshaw. The results were still the same…long-winded solos on jazz standards and some west indian folk songs paying homage to Rollins’ West Indian roots.
This man has appeared in countless numbers of countries on even more super numbers of stages,over (7) seven decades of playing professionally and like a great Rolls Royce classic, even though high milage, He still purrs and runs like new.
Well done sir! Happy Birthday Sonny, keep coming back!
posted by Robert J. Carmack with photos by Chuck Koton
August 29 is a very lively day for many and jazz is no stranger, as it’s the birthdate of three prominent saxophonists, Charlie Parker, Bobby Watson and multi-reeds man,Bennie Maupin. The Blue Whale jazz club of Los Angeles was rocking for two nights as Bennie Maupin and his working band (Derek Oles-bass and Munyungo Jackson-percussion) performed outstandingly on both Friday the 28th and 29th,with Saturday night, August 29 being the celebratory night with special invited guests to perform as well, including very special guest Ms. Patrice Rushen.
it was 2 nights at the Blue Whale celebrating Bennie’s 75th birthday…munyungo and Darek Oles(bass) have played with him for years, however, this weekend Bennie added young Gene Coye(drums)Josh Johnson(alto sax) an alumnus from the Monk Institute; Jeff Parker(guitar)
Patrice killed as did everyone..he closed with the hit funk tune from Headhunters.. Chameleon.
Bennie blew like he was 25!
posted by Robert J. Carmack #@blues2jazzguy
Local Jazz artists are throwing their hat in the ring, or in this case their voices and instruments. I have assembled a plethora of very talented musicians and singers to produce the “POCKET JAZZ SERIES”, a group of concerts. I’ve coined that phrase to emphasize the “small in stature, big in content” being presented at the World Stage Performance gallery, a limited seating space for the performing arts. However, “My thinking was to have two very different shows back to back weekends, so those that cannot make one, they maybe able to make the other.”
Starting with Saturday August 22 at 7:30 ,@ World Stage 4344 Degnan Blvd. Los Angeles,CA 90008, tickets/Info 951-840-7120 we’re kicking off the Series with a moving tribute. The GENIUS of DUKE PEARSON:Thanks Uncle Duke. the evening will be filled with sparkling Duke Pearson compositions, along with other composers who was either produced by Duke or, worked with him, such Donald Byrd, Cedar Walton, Bobby Hutcherson ,etc. The music is being performed by The UNCLE DUKE LEGACY BAND featuring veteran jazz pianist/music director, Bobby West. voices featured are Aldene “Pat” Sligh, Jana Wilson and Mechelle La’Chaux . Come out and celebrate a fresh new approach to exposing an audience to unsung greatness and such historic significance. writer of such popular jazz classics as Jeannine, Fancy Free, Sudel, Wahoo, Sweet Honeybee, Big Bertha’, Gaslight,ESP,and most famous , Christo Redentor, just to name a few.. make an evening of it. Tickets are $15-$20 limited Seating- first come first served, those with tickets will have seat priority.
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.
Patton 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’.”
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).
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 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.
posted by CHEF ROBB-the Jazz Cooker #@blues2jazzguy
BAM!! Now thats what I’m talking about, real jazz and poetry right out of a Bohemian film or a hipster’s pad somewhere on the east coast. Saturday night at the Kingston Cafe was all lit up with fat grooves from the baritone horn of Dale Fielder, who handled that Hog-leg of an instrument like all the guys that came before him on that horn. Pepper Adams, Cecil Payne,Leo Wright, Sahib Shihab and Charles Davis , all well known for dealing with the “beast”. Fielder was on hand with the original Dale Fielder Quartet,along with special guest poet, Robert J. Carmack. Robert is publisher and editor for Hipster Sanctuary.Com.
The original members are Thomas White drums, Bill Markus Bass, Jane Getz on piano and Dale himself ,Soprano, Tenor and Baritone saxes.
Dale filled the evening with original compositions penned by himself, one in particular was Resilience , brisk moving composition which allowed the whole band to open up the throttle. Joined on the bandstand by Grammy-winning Recording Engineer/Guitarist, Bob Tucker. “This is dedicated to my band, because they have resilience to last 20+ years.”
Carmack joined the band on stage for a combined effort on one of Fielder’s CD cuts from 2001,Romance Serenade, where Robert recited an amazing original love poem called Up jumped Spring, followed by a riveting piece in tribute to Jackie McLean entitled, LET FREEDOM RING! performed alone on stage as the first set ended. After a brief break, Carmack and Fielder returned for a duet of sax and poem.. Carmack announced the next two poems to be performed was written by a local writer/journalist in Los Angeles, Eric Wattree. A Night to Remember (homage to Coltrane) and A Swingin’ Affair in tribute to Dexter Gordon.
After two swingin’ pieces, one by the hard bop pianist , George Cables. then the quartet closed out the evening’s last set with an old standard gem called , Moonglow. the theme from the movie, Picnic. Treated with kid gloves by the band, the song with a melancholy theme loomed large over the attentive audience that night. The band and poet were rewarded with loud applause for a job well done. everyone had a lot of fun, including Sculptor/Painter,Chukes and Jazz host, Brad Williams from radio KJAZZ 88.1FM See the early discography of Dale Fielder at the following link …