Tag Archives: Freddie Hubbard


posted by #@blues2jazzguy


Duke Pearson Right Touch LP

August 22nd– 7:30PM

Genius of DUKE PEARSON:Thanks Uncle Duke

Enjoy an evening of classic jazz and vocals paying homage to the great Duke Pearson, who produced some of jazz’s greatest albums and had a major impact on hard bop compositions and arrangements for big band and large ensembles. The evening’s  featured pianist is jazz veteran, Bobby West and five of LA’s best musicians.

Introducing guest vocalists Mechelle LaChaux & Pat Sligh 

Duke Pearson played a big part in shaping the Blue Note label’s hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody “Cristo Redentor” for Donald Byrd, “Sweet Honey Bee” for himself, and Lee Morgan,  “Fancy Free” and “Jeannine,” which has become a much-covered jazz standard, among many others up until early1970.

August 29th 7:30pm


art Farmer Cedar walton w Billy
Art Farmer, Billy Higgins with Cedar Walton on piano (RIP)

An Evening of Jazz & Poetry featuring the music of some of our great jazz legends including Charlie Parker, john Coltrane, McCoy Tyner, GiGi Gryce, Art Blakey’s Jazz messengers and such vocalists as Nellie Lutcher, Dee Dee Bridgewater, Lou Rawls & Joe Williams  all performed by some Los Angeles’s top shelf musicians…Featuring Anqui Renise and Amin El.

Special guest vocalists: Mechelle LaChaux and James Love

The World Stage 4344 Degnan Blvd LA 90008

ALL SHOWS start at 7:30 sharp   Limited Seating  RSVP preferred  – No advance tickets  call 951-840-7120

Donations: $15 – $20 (sliding scale)

World Stage Performance Gallery is a non-profit 501c organization tax-deductible

all shows produced by Robert J. Carmack & The World Stage


posted by Robert J. Carmack   #@blues2jazzguy

jazz saxophonist  Mel Martin and Herbie Hancock
Saxophonist Mel Martin and Herbie Hancock photo by Mel Martin Jazz Archives

Its the birthday of the very man who once thought he would never reach the the greatness of an Oscar Peterson or a Thelonius Monk. Now 75,looking 40ish is the jazz icon who has accomplished every possible music, presidential and international recognition & Lifetime Achievement Award there is.

For me, It began in 1964, I was 14 and studying saxophone in junior high and played in a youth Jazz big band sponsored by the late great Gerald Wilson in Los Angeles. MY DAD WAS STILL MY MAIN SOURCE FOR JAZZ ALBUMS. He brought home a Blue Note album that was all blue,it had a weird name on it” Empyrean Isles” by Herbie Hancock featuring a song I could not stop playing over and over, and over again.

Cantaloupe Island  was quite dominant on radio, I heard it everywhere, in the barber shops,cafe’s on Jukeboxes and car radios and jazz stations . It had an infectious beat and groove to it that swung with a new hipness , just enough commercial to attract AM radio and FM radio stations,But enough of the old school bop playing around that groove that spoke volumes of this new artist’s approach to composition and  improvisation.

I’d been a fan of H.H. since that first album bought by my dad, but,then I was beginning to purchase my own some 9 months later.That one album turned me on to all the fellow side-men and their careers too. Herbie+Hancock-inthe1970s I am most proud that a man of his standing is the Ambassador at Large for Jazz . On the International stage, its much needed, as we in the jazz community know, its not getting its due on the american front. we’re bickering over what is Jazz, what to call it, Europeans are claiming they really started jazz and deserve to proclaim its roots.(Lol)  Herbie also has recently come on-board as professor of music at UCLA , in addition, both he and long-time collaborator,Wayne Shorter are active board members of the Thelonius Monk Institute located on campus at University of Los Angeles. I look forward to whatever comes next for Herbie Hancock, even if its just a candle blowing event. Born April 12 1940 , in Chicago ,Illinois.  HAPPY BORN-DAY HERBIE!!


posted by  Robert J. Carmack   #@blues2jazzguy

McCoy TYner-600

HE’S WIDELY considered one of the most influential jazz pianists of the 20th century, and yesterday McCoy Tyner was given the keys to the city – or our equivalent, a brass, mini Liberty Bell.

Mayor Nutter recognized Tyner as the 2015 Jazz Legend Honoree during the fifth annual Philadelphia Jazz Appreciation Month, which celebrates Philly’s jazz history with musical events throughout April.

Tyner, originally from West Philly, is an icon in the jazz community, and has performed alongside musical greats such as John Coltrane, Miles Davis and Dizzy Gillespie. He has won four Grammys and has released nearly 80 albums under his name.

“It’s wonderful to be back home in Philadelphia,” said Tyner, 76, who has spent recent years living in New York.

mcCoy Tyner  & BOBBY
Shown: Publicist Robert J. Carmack with legendary pianist McCoy Tyner in San Francisco circa 2002

“I would like to thank the mayor and the people of this great city for making this possible for me. No matter where I am in the world, Philadelphia always has a special place in my heart.”

Nutter called Philly “the music town of the United States of America,” to raucous applause from an audience of musicians. “McCoy has changed the way everyone after him has played the piano,” said local Grammy-winning record-label owner, producer and composer Aaron Levinson.

“His percussive approach and sense of harmony signaled a new frontier for the instrument. And his embrace of African, Asian and Afro-Cuban ideas puts him in the league of Duke Ellington. Philadelphia can claim one of the giants of all time, and I applaud our mayor for making this happen.”


posted by Robert J. Carmack  #blues2jazzguy

Happy Birthday Bobby Hutcherson!
Jazz vibraphone and marimba player, Maestro    Born: January 27, 1941 (age 74), Los Angeles, CA ♡

Bobby Hutcherson in suit  color pix

Bobby hutcherson 2 color in vest


Bobby Hutcherson  B:w

Bobby Hutcherson in sweater



Free For All: Blakey’s Hardest Hard Bop – By Carl Glatzel

This isn’t just jazz, it’s war. On February 10, 1964 Art Blakey enlisted the aid of a special ops unit for this trailblazing mission. This edition of the Jazz Messengers was the quintessential hard bop lineup and the perfect team for the job. The frontline was a heavily-armed triple threat consisting of Freddie Hubbard on trumpet, Wayne Shorter on tenor sax and Curtis Fuller on trombone. Cedar Walton on piano, Reggie Workman on bass and Art Blakey on drums brought up the rear and had the near impossible task of grounding this tour de force.

Blakey was a well-known beast on the skins – infamously destroying drum kits on stage – and was relentless on the Shorter-penned title track, which opens the album. There’s no slow build here, it’s an all-out assault from the word go. Blakey pounds away with everything at his disposal while the frontline crashes through the gate as if charging a bunker amid heavy shelling. With Blakey’s detonations blasting all around, each horn takes an extended solo while weaving through their fearless leader’s tumult. After a glorious 11-minute show of bravado from all parties the finale ends with a classic example of Blakey’s pure adrenal rush on the kit – a thunderous roar followed by a single hit on the hi-hat and then peaceful silence. An outright classic and well worth the price of admission.
By this outing, Shorter was at the very top of his creative game and shortly after he would be on his way to joining the fabled Miles Davis Quintet as its principal composer. On this album we have two great works by Shorter – displaying his versatile style in all its glory. The second track, “Hammer Head”,  another Shorter original, is cooler than the bombastic opener and moves with a well-defined swagger. This is classic Blakey material where his famous press rolls and shouts introduce soloists who take the floor with commanding flair.
The third track, “The Core”, is a Hubbard original and another cooker. This piece is a great example of Hubbard’s writing ability and another great showcase for the raw power behind this seamless unit. I’ve always been of mind that Hubbard played to his full creative potential as a sideman at Blue Note rather than session leader. His outings on both the Atlantic and CTI labels in the late 60s and early 70s have always been go-to listening to these ears.
The last track, a Clare Fischer composition, will throw you for a loop. Suddenly, and most dramatically, a truce is called and “Pensativa” is the white flag. This laid-back bossa tune would be right at home on a Hank Mobley album of the same period. It clocks in at just under 8 and a half minutes and is a sheer joy to listen to. We finally hear the bright, clarion call of Hubbard’s pristine trumpet and Blakey’s effortless timekeeping. “Pensativa” balances out this amazing album to create a truly unique recording – one which rewards fans with new insights upon repeated listening.
Big John Patton’s “Understanding” Misunderstood
By Carl Glatzel
I’ll usually reference Allmusic.com as a litmus test for unfamiliar recordings. I’m glad I went with my gut when I found a 1995 Blue Note re-issue of Big John Patton’s “Understanding” at a local used book store. If I had gone with the All Music critic’s opinion I would have avoided it like the plague and tossed it aside. For the uninitiated, Patton is an organist who came to prominence on the Blue Note label in the early 60s. He was known for his economical, modern approach and inspired, bluesy solos. One of the few organists of the era to dodge the Jimmy Smith comparison.
After outputting a handful of releases with label regulars, Grant Green and Lou Donaldson, he ventured off into some uncharted territory. The 1968 release “Understanding” is not truly a dramatic departure but it does house some free playing by saxophonist Harold Alexander and that is what Allmusic took issue with. It’s stated to somehow interrupt the groove and comes across as disjointed and out of place. Perhaps to the untrained ear or to a listener not familiar with or accustomed to the unorthodox sounds of Pharaoh Sanders or the other artists from the Impulse! New Thing stable. Alexander’s playing is by no means that of Peter Brotzman or a young Gato Barbieri. To these ears it comes off as more to do with exuberance, where the spirit of the session takes the helm. “Understanding” still defaults to a soul jazz category and it’s easy to dismiss free (or freer) playing in this arena, but one listen to this vibrant interplay and you’ll fall into the groove and won’t want to leave. Patton is at the top of his game and his bandmates push him to his swinging limit. The trio is rounded off by Hugh Walker on drums who gives his all – keeping a steady, turbulent backbeat under the soulful wailing laid down by Patton and Alexander. This is music to drive to, you’ll want to be moving and moving quickly at that.
Right from the opener “Ding Dong” you know exactly where you stand – this is some heavy-duty soul and these players aren’t about to let up. Each player builds on one another, throughout the album, adding more fuel to the fire and keeping things interesting. Patton proves he’s not afraid to go out on a limb with a loose cannon like Alexander, whose raw sound on sax churns an already boiling pot. The addition of Walker on drums is a great move – adding a stout backbone to help ground the saxophonist’s free-range musings. Patton is spot on, as usual, with economic solos and signature basslines. And it’s Patton’s near-hypnotic bottom end that adds the sense of forward motion to each track, undulating deep down under Walker’s rock-steady drumming, and showcasing the album’s true groove. 
This album certainly isn’t the soul jazz of previous years – dare I say – in some ways it’s even better. It’s now time to go out and find this holy grail of groove. And when you do, you’ll want to turn up your
hi-fi and tune out the naysayers.       
Carl Glatzel is a Jazz Blogger, Creative Arts Director – creative direction, art direction, design and advertising, copy-writing for print and interactive media including advertising campaigns, corporate branding, identity, web sites, marketing collateral, exhibits, packaging and direct mail. 

Jazz Friends

Exploring the Music of Woody Shaw Dec 24, 1944 – May 10, 1989

Exploring the Music of Woody Shaw Dec 24, 1944 – May 10, 1989.

Barons of Hard Bop Piano: One Night Only Lincoln Center Jazz

Jazz Piano Summit: Cedar Walton & Barry Harris

The Allen Room at Jazz at Lincoln Center     New York City, N.Y.

jazz-piano-sumit-920Two jazz piano greats, Cedar Walton and Barry Harris, share the stage for what promises to be one great night of music. Best known for his hard bop style, Walton made a name for himself early on performing in Art Blakey’s Jazz Messengers, alongside Wayne Shorter and Freddie Hubbard. He’s also the composer of several jazz standards, such as “Firm Roots, “Bolivia,” “Cedar’s Blues” and “Fantasy in D” (aka “Ugetsu”). Barry Harris’ bebop stylings have been heard jamming with such luminaries as Cannonball Adderley, Coleman Hawkins and Dexter Gordon. Extremely prolific, Harris has recorded 19 albums as a lead artist and has been honored with a Grammy Lifetime Achievement Award. These two piano legends will be joined by Buster Williams on bass and Willie Jones III on drums.

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TWO SHOWS ONLY    SATURDAY,  JUNE 22   7:30pm   &  9:30pm