Rudy Van Gelder, a renowned recording engineer who captured jazz greats Miles Davis, Thelonious Monk, John Coltrane and many others in his parents’ Hackensack living room and later in his Englewood Cliffs studio, died Thursday, August 25 at the age of 91. He is truly a Jazz master in the technological sense. Many of his recording sessions were great records because of the combined efforts of musicians and engineer, capturing the most-pure extract of Jazz at the highest level.
A LOVE SUPREME by John Coltrane
The Ultimate masterpiece in jazz recording. No one knew how to deliver the best of “Trane” better than Rudy Van Gelder. It will take decades to analyze all of his work to put him into the proper perspective regarding the Legacy.
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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posted by @blues2jazzguy concert photos only by Jerone Myles
One of the best feeling in the world is when you plan,execute and get back a return on your effort in double spades..No, I’m not playing cards, even though I am using a card game metaphor. On August 22,last saturday night, a group of master musicians, two vocalists! and a poet came together in a show entitled,The Genius and Music of DUKE PEARSON: Thank You Uncle Duke
Working with Jon Williams to secure the World Stage with our idea to honor a man, most deserving equally,as the man who founded the world Stage, Billy Higgins. Higgins was one of the most recorded drummer in jazz history. Pearson had his hands on many of the classic albums ever produced by Blue Note Records, many of which was backed by Billy Higgins on drums,
The evening’s program kicked off with producer/host, Robert J. Carmack introducing the band,The Uncle Duke Legacy Band,which featured the piano stylings of Jazz veteran pianist, Bobby West. Before the music began,Carmack presented a letter from the Duke Pearson family. Which in short thanked the The World Stage,and their staff, Jon Williams and Sister Renee for their efforts. Also, Robert J. Carmack and all the Band members and vocalists participating. They also invited the the audience and fans alike to visit and join the Duke Pearson Tribute page on Facebook. The letter was signed by Mr. Gerald R. Ford( no relations) the nephew, Greetings and thanks from his mother and Duke’s sister,Myrtle(81)last survivor of Pearson’s direct family members.
Several choice Pearson compositions were played by the Band, including two non-Pearson tunes but were either recorded by or worked with the production and arrangements. First set jumped off without a hitch with Jeannine ,using a version arranged by Cannonball Adderley’s band . This classic allowed the band to show out and up with Bobby West taking the lead line on piano with Derf Reklaw Flute in harmonic tag-along, driven by the bass and drum duo of Ishmael hunter and Reggie Carson. West was able to really stretch out and flex his well honed skills to task on a blistering solo, followed by Derf Reklaw “take no prisoners” balancing between Flute lines and accents on Congos & bongo. In an effort to give balance and unique presentation , we added voices on certain songs , such a rich vocal arrangement of UGETSU/Fantasy in D, sung by the mother, daughter team of Pat Sligh and Jana Wilson. its a well known composition by Cedar Walton, a sessions player on many Blue Note recordings including Joe Henderson and early on in 60s with Art Blakey’s Jazz Messengers . Sometimes , you have to go and dig out some strange-named titles to really appreciate Duke Pearson’s mind. Especially his sense of humor with this composition the band tackled with all their might, Big Bertha. a bright uptempo ,kind of funky, driving tune. Makes you wonder what your experience would have been like meeting the infamous “Big Bertha.” Later in the evening The band decided not to perform a fast tune to open the next set , they went with a sublime composition written by Duke and dedicated to his mother, On Mother’s Day This Year (wear the brightest rose) “we wanted the audience to feel the lyrics that was also in the composition” stated Robert J. Carmack ,producer. “but we had no male vocalist to sing it, so we used Derf Reklaw flute’s mid range and low tones to bring out the richness of the very harmonic laden tune. we followed that up with another smooth swinger in Gaslight, taken from his mid-60s period.
“Many of these Pearson compositions were quite complex in their original form, and sometime they was not available to get the charts I needed , I had to rely on my associate and friend James Armstrong , who helped me immensely on many of the complex melodies, James was instrumental in breaking down a lot of the music theory I did not know, to even select the compositions we used in the show was quite difficult,” stated Carmack. James was invaluable on this project.
Carmack surprised the audience with a riveting poem written by Eric Wattree ,a family friend of Dexter Gordon, It’s called A Swinging Affair, another Blue note gem, that also included Billy Higgins on Drums at that 1964 session under the watchful eye and ear of Mr. Duke Pearson, though not credited as producer or arranger on a lot of Blue Note records, his fingerprints were all over a plethora of big records by the label, under a special arrangement between Duke and Alfred Lions , whose name appear as Producer very suspiciously on too many “hits”. It was technically his money paying for sessions ,but we all know whose creative energies were prevalent on the albums themselves. The evening’s last two compositions played by the Uncle Duke Legacy Band was just stellar, starting with Amanda, a bouncy,latin-tinged call and response ditty between West’s piano and Reklaw’s Flute. Reklaw took no solace in having to bounce between Flute and accented 4s between drums and bongos, followed by more fire from the flute as he played an extended flute solo that conjured up James Spaulding. Spaulding by the way, played flute and alto on the original 1966 “Wahoo ” album. The finale was just indescribable, Cristo Redentor, featured all members of the band , the two female vocalists and poetry by Robert Carmack. The flute’s voice was mixed with the angelic voices of the female singers , that set up a choir like sound as in the original Donald Byrd piece with piano by Bobby West’s alternating the hymn -like melody with the flute’s voice, follow in the second part by a Harmon muted trumpet by Jon Williams of the World Stage staff, this set up a mood as the band lowered its sound and vamped as Carmack recited an original poem call Let Freedom Ring Now!, aptly titled after a Jackie McLean Blue Note record from the mid 60s, this all culminated in bringing down the house with a standing ovation by the fully engaged audience at the World Stage. Robert Carmack’s next and last show of the Pocket Jazz series for August concludes Saturday,August 29. NOW’S The Time: Spirits of Our Ancestors 7:30pm doors open 8pm showtime. Venue: World Stage 4344 S. Degnan Blvd. L.A. 90008 951-840-7120 RSVP /Tickets info $15 tickets until 8pm $20 ATD after 8pm
Robert J. Carmack , collaborated with Billy Higgin’s World Stage in order to try to capture in one evening, one man’s most compelling compositions of the 1960s at Blue Note Records.
MORE ABOUT DUKE PEARSON
“This was most challenging, said Carmack , How does one select from the multitudes of compositions he’s written, produced,or arranged while having an impact. Not just on the album sales at Blue Note, but also the genre itself as Blue Note made its transition from well-known A&R man, Ike Quebec, a mainstay at the label coming out of the swing era,bebop period , then latching on at Blue Note as an arranger, and facilitator for new music and artists. IMHO, the label’s quite volatile roster of talent began to come up a little stagnant and needed new & fresh ideas to drive the label as the 1960s was upon them. Unfortunately by 1961, the death of Ike Quebec left a gaping hole in Lion & Wolff’s ability to attract new talent and fresh musical ideas. Hence, the hiring of Duke Pearson by Alfred Lion put them squarely on the right path as history played out, from 1962 -1970 Blue Note Records had its best and most profitable times, including having some of the best in artist signings and record productions in Herbie Hancock, Freddie Hubbard, Wayne Shorter, Cecil Taylor, Andrew Hill, Kenny Drew, Stanley Turrentine, Dexter Gordon, Bobby Hutcherson,Joe Henderson, to name a few artists. Two of the biggest albums during his tenure was, New Perspectives by Donald Byrd featuring Cristo Redentor and The Sidewinder by long time Blue Note staple,Lee Morgan. IMHO, If there were no Duke Pearson’s Vision, Those records among others never gets made.
posted by #@blues2jazzguy hipstersanctuary.com staffwriter
JAZZ SPOKEN HERE is a combination of JAZZ and POETRY being performed by Jazz man Dale Fielder and his Quartet. also performing as special guest poet is longtime jazz promoter and journalist,Robert J. Carmack. DALE FIELDER QUARTET is celebrating its 20th year as a group playing together, and Carmack’s Jazz Blog/E-Zine, Hipster Sanctuary.Com is in its 17th year of promoting jazz, By Any Medium Necessary”.
All of the festivities get started at 7pm at the upscale Jamaican restaurant ,Kingston Cafe located at 333 Fair Oaks, Blvd. in Pasadena,California. $15 at door
The two guys met at an artists enclave in Los Angeles , called 5th Street Dick’s Coffee House in Leimert Park, literally weeks after the 1992 LA Riots. “Dale was running a Jam session that started at midnight every weekend, soon it became THE SPOT for serious jazz lovers and players. At the time I wasn’t playing much saxophone, I was doing more writing and working a
Straight Gig 9-5 every day. I had started quite young playing and began blowing professionally just out of Junior High school. I knew all the hot spots and gin joints in LA over the years where jazz once flowed freely and now had given way to Dance Hall clubs, and Hip Hop culture. but this new Leimert Park village as we called it, was clicking.“ Then came the poets, actors, sculptors,painters, chess players, incense makers,Kente cloth and afrocentric wares flourished, even coffee drinking now took the place of brown-bag sessions on the corner, then came the media.. Through all of this quick growth, Dale Fielder was honing his craft that included some of the best musicians in L.A. appearing with him and showing up at his Jam sessions in the L.A. village .
See above picture circa 1993 The Dale Fielder Quintet featuring Greg Kurstin piano, Bill(the Count) Markus on bass, Drums was Ocie Davis III, with Dan ( Bag of Soul) Bagasoul trumpet and Dale Fielder leader /saxophones.
see above picture that includes Robert J. Carmack (center) tenor sax/flute & spoken word, seated upfront is vocalist Mark Broyard, Guitar is Blascz ?(too difficult to remember),Bassist is Kent Brinkley, not seen is Bill Madison drums and Soprano sax/flutes,vocals – Alaadeen. *************************************************************************************** Fast Forward 20 years later, and Dale has traveled all over the world and won many awards including the 1995 winner of TV’s BET Jazz Discovery contest. But, more importantly he is about to record his 16th CD sometime this fall. Not a bad body of work.
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.
“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.”