COLTRANE @ NINE-ZERO: CELEBRATING JOHN COLTRANE 1926 -1967


posted by Robert J. Carmack   #blues2jazzguy

artwork by King
artwork by King

 

 

 

 

 

 

 

Subtitle; A Hipster’s perspective on Trane at 90.  Its been a long 49 years ago that John William Coltrane was announced transitioned. This writer remembers that summer day as if it was only yesterday.

photos chuck Stewart
photos chuck Stewart

I was just starting to settle into the summer as any teenager would, with mine being a little bit different. That difference being, I was a young working musician playing saxophone in a Jazz band.  Actually getting more gigs for Dance music or “Soul Music”, so we did both. So on top of playing “Motown” for a set, we always ended a set or opened a set with popular jazz of the era. Bumpin’ on Sunset with Wes Montgomery or Song for my Father by Horace Silver.

One of the most popular of Trane’s music at the time was Equinox and My Favorite Things.  In order for me to become a big fan goes all the way back to when I first arrived in Los Angeles with my parents in July 1960. Quite excited to have moved away from the Deep south and the whole new environment to play, learn and live a better Life away from Jim Crow South. As a 10 year old boy, I had an affinity for advanced music beyond my years . One day I heard a song on the radio station my Dad listened to at the time called the Jazz KNOB , a Long Beach California station for all Jazz format. The song was Cousin Mary by Lambert, Hendricks and Bavan, a jazz vocalese group. The lyrics begin by the members of the group rhythmically chanting  “John Coltrane..John Coltrane..John Coltrane. In my very young mind hearing this ,I thought I heard them saying, Jungle Train..Jungle Train..(Lol) .

I had no idea who this group was until about 3-4 years later, when I had many albums that my father had bought to refer to for further study. I was now a budding saxophone student who had a thirst for Jazz music and its history and all that relates to it. I immersed myself into the backs of albums where I got to learn not just about the leader, but all his sidemen. Coltrane had a distinct sound that differed from most of the other saxophonists I listened to in the mid 1960s.

trane-90-chuck-stewart-john-coltranearchie-shepp-love-supreme-3
photos Chuck stewart Trane,Archie Shepp, McCoy Tyner, Bob Thiele(producer Impulse)

 

 

 

 

 

 

As I progressed in my study of Jazz and its history. This led me back to the legacy of who and what were influences on John Coltrane’s life and music . I found that he was born in North Carolina to a mother and father who loved him very much and fully supported his dreams and goals. They purchased an alto saxophone for young John in 1938, where he became very proficient on sax and clarinet. the church was a big part of the Coltrane clan in High Point North Carolina. You could hear in many of Coltrane’s music in the mid 60’s  leading up to a harvest of great recordings such as Spiritual,Alabama, Dear Lord and many others. The other thread that ran through Trane’s music in my opinion was the Blues, an essential ingredient for great jazz. The “Bird Factor”  was a big factor in almost all of Trane’s Bop tunes, straight “12-bar blues” songs,  , another stylized approach by Trane was to max-out on the chords, by inverting them ,creating new scales based on the tones in the present scales.  One of the reasons John fit in really well with Miles Davis experiments with Modal chords, fewer restrictions from the “Traditional BeBop” block-chord structure. His classic recordings with Miles Davis are well known, Classic groups that featured some of the best in Jazz of the time, like Red Garland, Philly Joe Jones,Paul Chambers or Bill Evans with Cannonball Adderley.

For me, my favorite saxophonists during this period of time were Trane, Dexter Gordon,Cannonball Adderley,Sonny Rollins, Coleman Hawkins,Joe Henderson and Wayne Shorter. To further illustrate the feelings regarding Coltrane’s status in the Jazz community. Whereas the  young Turks were starting to expand the music into what was called at the time so-called “Avant Garde” or “Free Jazz” .

John W. Coltrane 1926-1967
John W. Coltrane
1926-1967

nothing in my mind spoke to this new style of jazz more so than the album “A Love Supreme”. I had a bunch of young friends,14-18 years old, that would come together at a selected spot to bring our albums for listening and spirited discussions, anecdotes of personal experiences at concerts,etc. This was a big part of my jazz education . Hearing about the musicians, especially “cats’ I had no music by, or had never seen before. Being so young then,       it was almost impossible to see a lot of jazz live because, they were in lounges or night clubs that sold alcohol and no food.

The saving grace for me and my buddies was a club out near the beach in L.A. called The Lighthouse Jazz Cafe. This venue had opened up in late 1949 as a restaurant/bar for mostly military audiences and local beach folks. but by mid-1950s under new management by local jazz bassist Howard Rumsey, he developed a policy of under 21 could come inside because they served food ( an ABC rule that allowed minors inside a place where alcohol is served) Me and my friends took full advantage of this policy. the other plus factor was that, even if you did not have any money to get in, you could stand outside on the sidewall and look into the club with those french windows.

The day Coltrane died, I got a lot of phone calls to inform me or If I had heard. You would have thought a president had died..well. in my circle of friends it was. I took out a few albums and began playing them. Crescent, Live at the Village Vanguard,Coltrane Sounds, My Favorite Things to name a few. As I recall whenever I had school projects in college where I produced a slide presentations/documentaries on socio-economic or sociopolitical topics. I used John Coltrane’s music as my soundtrack to narrate by. Years later as a mature adult, some 30 years later I would hear his music via over-head systems in stores, schools, cafes, jukeboxes or even at Bar B Ques on Boom Boxes by Baby-Boomers instead of Motown or R&B  dance music. Even today, as I listen with fresh ears on some of his oldest music from the Prestige days with Donald Byrd and Red Garland or Art Taylor groups. even the early days with Miles Davis still have MAGIC in those eclectic solos. those beacons of light when I’m feeling a little dark  or unsettled. I consider myself a jazz historian, but I’m more of a student of jazz and its legacy.

PHAROAH SANDERS AND JOHN COLTRANE - mid 1960s
Pharoah Sanders and Trane mid 1960s

 

 

 

 

 

 

 

 

 

 

 

 

 

Some background on Coltrane…

Coltrane was born in Hamlet, North Carolina on September 23, 1926. His father was John R. Coltrane and his mother was Alice Blair.He grew up in High Point, North Carolina. His mother bought him his first saxophone, an alto in 1938. Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a “cocktail lounge trio”, with piano and guitar.
Coltrane’s musical talent was quickly recognized. though, he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. By the end of his service, he had assumed a leadership role in the band. Many believed his first recording session included an arrangement of the BeBop classic Hot House.

After being discharged from his duties in the Navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia.  He then jumped into the excitement of the new music, BeBop and the blossoming “bop scene.” Coltrane was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early to mid-1950s.

The Miles & Monk Years  1955-1957

The rivalry, tension, and mutual respect between Coltrane and bandleader Miles Davis was formative for both of their careers.
In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from Davis. The trumpeter, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin. He was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the “First Great Quintet”—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957. During this period Davis released several influential recordings that revealed the first signs of Coltrane’s growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin’, Relaxin’, Workin’, and Steamin’. The “First Great Quintet” disbanded due in part to Coltrane’s heroin addiction.

trane-and-miles-davis-poster
classic posters from 1963

 

 

 

 

 

 

 

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic, Ira Gitler coined the term “sheets of sound” to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis’ group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport and Jazz at the Plaza.  At the end of this period Coltrane recorded his first album as leader for Atlantic Records, Giant Steps (1959), which contained only his compositions. The album’s title track is generally considered to have the most complex and difficult chord progression of any widely played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.

alicecoltrane2X Trane painting
alice and John

Prior to Trane’s death, I did not know about Alice McLeod(Coltrane)his pianist wife. Her name popped up in a conversation one night with a bunch of my Jazz group sessions , That was when I first heard the Live session at the Vanguard with Alice Coltrane now on piano instead of McCoy Tyner and Rashied Ali-drums, instead of Elvin Jones. the group was not only changing personnel, but the direction the music was beginning to take a new form inside a more philosophical, “Outside”(mainstream jazz) more eastern in style thats mixed with East Indian,North African and Asian influences and less once  harmonic and melodic theories.

b& w alice coltrane harp
Alice Coltrane with Harp

 

 

 

 

 

 

robert-sax21-sax-salute
21 sax Salute to Charlie Parker 95th Birthday celebration LA Calif. 2015 Chuck Koton photo

Today as I look back over at all the Coltrane Tributes I’ve attended, created, and performed in, I never get tired of hearing a Coltrane tune or “Trane influenced music”, to me it’s like getting inside a time machine and going for a short ride into the 1950s or 1960s jazz scene.

I support live jazz for the youth in jazz too, somebody has to keep this thing going.. since we barely have radio stations, NO instruments in public schools, the worse crime is the distorted madness being called jazz today. I guess I’m still old school  where you got to “swing” the circle of Fifths, know all your scales in every key and show up on the gig like you done this before(Dress).

I interviewed the great Joe Henderson who once told me, “You work on your craft in the Lab” (woodshed) so when you get to the gig ,You know your stuff.” 

I never got to see Coltrane in-person, because I was too young and unlucky. 1966 he came to UCLA, but I could not get a ride to the Westwood campus about 30 miles from my house, He had just released the Impulse album, Kulu Se Mama . I saw many Trane influenced musicians from the 1970s to today. Many of today’s musicians are just getting around to checking out the Trane Prestige years, still trying to understand the Impulse and Atlantic records years too.

The longer I live, the more opportunities I get to honor this great man through words, or music and verse. Today, I’m a big fan of Ravi  Coltrane(Son) tenor saxophonist with his own sound and group. a daughter Michelle , who sings like an angel locally here in LA. and his old pianist, McCoy Tyner,  Who’s still performing on the circuit whenever he feels it. LIfe is Grand! #traneat90, #MilesandTrane90 

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RUDY VAN GELDER: THE FINAL NOTE 1924 – 2016


posted by Robert J. Carmack   #@blues2jazzguy

Rudy Van Gelder
Rudy & Alfred Lions of Blue Note Records

 

 

 

 

 

 

 

 

 

 

 

 

 

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.

Rudy van Gelder TRane

 

 

 

 

 

 

 

 

 

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.

Rudy Van Gelder NOW

 

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DALE FIELDER QUARTET RESILIENCE! HINDSIGHT 20 YEARS


posted by Robert J. Carmack        #@blues2jazzguy

Los Angeles_ Dale Fielder, the LA based  musician,composer,bandleader is just one of those rare entities that chooses to grow and get better with time. After more than 20 years as the leader of Dale Fielder Quartet, Dale fielder sax orange shirt He keeps re-inventing himself with his great original compositions or performing on different instruments he has mastered,which now seems to be the Baritone Sax.

This writer and Dale Fielder connections goes all the way back to 1992 in the springtime, as Los Angeles was just trying to heal its wounds from a bitter uprising over the Rodney King /LAPD incident. One of the brightest vehicles to come out of that time was the emergence of Leimert Park Village , a quaint piece of L.A. dedicated to the African-American and World Cultural Arts community where it all came together as “One”. Another positive wave of transition came into play was the re-emergence of the “Coffee House”. the most popular of that period was Fifth Street Dick’s . Truly a magnet for good classic Jazz, spirited conversation,chess and later on “LIVE” Music performed 7 days a week. The Owner Richard Fulton began his business model of just having a safe, & sober place for recovering people to enjoy life without undue influences that contributed to their downfall in life.after his Coffee House’s popularity grew so quickly, Richard an avid jazz collector, moved to the next level and began presenting jazz in a Jam session format on Fridays and Saturday night. He hired Dale Fielder to “lead the charge and see what develops”, Inside of six months, Richard had the most talked about “Spot” in LA, Musicians were coming over after the Gigs and hitting with Dale and the fellas, along with The World Stage around the corner, There was nothing like this phenomena since the 1950s or 1940s on Central Ave. Dale Fielder was at the Eye of the Hurricane, as all of this Jazz Utopia was going Down.

Dale,Dan Bagasoul,Greg Kurstin,Ocie Davis,Bill Markus 1993
Dale,Dan Bagasoul,Greg Kurstin,Ocie Davis,Bill Markus 1993

 

 

 

 

 

 

 

 

 

pianist Jane Getz
Jane Getz pianist
DRUMS THOMAS WHITE Mr. Taste
Mr. Taste -Thomas White drums
Bill The Count Markus
The Count / Bill Markus

Dale began to develop a reputation for having great musicians in his band and his playing was becoming legendary on saxophone especially on alto which he was playing a lot in those early years. Two of the young-lions of that era that were constantly among the personnel used by Dale Fielder were , Thomas “Mr. Taste” and Bill “The Count” Markus.  They were among the best of the best that performed powerfully when called upon. Jane Getz who had already made her bones inside the New York Jazz scene  with the likes of Charlie Mingus and other legendary fixtures on the scene, was now living in Los Angeles .She and Dale found each other through the music in LA , and fit in perfectly as the final piece of the Quartet, bringing experience, skill and panache to the group.  21 years later, here they are still glowing. still pumping out great original jazz compositions. They perform together today as a family unit, each knowing the other’s strengths and nuances, and how to make them even better.

" Fresh New Material" from Dale Fielder
” Fresh New Material” from Dale Fielder

There are many words to describe greatness and masterful, I choose “passionately sublime” to attach to this group. I can also say the same for their latest presentation on CD, RESILIENCE! a double CD by the Dale Fielder Quartet.

Passion is a word that most definitely sears all of Dale Fielder’s compositions and arrangements. This writer is always most struck by his choice of titles for his songs he writes. I also respect his courage for writing and producing his own music, compositions that rests on their own merits, while giving  nods to the masters who came before. That’s saying a lot when many of today’s so-called jazz musicians are just faxing – in rehashed standards, Dale is smashing the molds ,even present beautiful, romantic music with the “Hog-legged Baritone Saxophone”.

He brings a new elegance to this instrument standing out from others who might have chosen the more”sexy soprano or tenor”.

“On Resilience, Fielder is still able to barrel through the changes of these quite poignant tunes and still make Humming-bird like sensitivity in his solos, that offers a balancing-act relegated mostly to Cirque Soliel.”

Dale wanted this CD to be special , its a double CD!  a jewel of a caveat is unleashed in this session in the persona of Ms. Rita Edmond. another Los Angeles native that is kept almost on a “NEED to KNOW” basis, and You need to know Rita. If one wanted to prove why this genre has nothing but great days ahead,One need only listen to Rita Edmond and Dale Fielder play behind her charming  and skillful vocals. Without drawing obvious comparisons, but certainly this duo harken the days of Dinah Washington and Gary Mulligan.

Ms. Edmond sings on two of Dale Fielder’s most romantic compositions, Days and Night with You and Romance Serenade. These songs are among my favorites of Fielder’s previously recorded in early 2001 off the Romance Serenade CD performed instrumentally on tenor and soprano respectfully.

This time Dale attacks these songs with his own lyrics added and Rita Edmond delivering the message. She is a great communicator of song, which becomes her very own once she touches the melody. Both of these tunes are light and breezy,yet  so romantic and sexy. All of this happening with the sound of the baritone sax ,an almost Beauty and the Beast montage being summoned. This time the beast is the hero who gets the girl.

Edmond unapologetically embraces Fielder’s writing like she wrote the tune and comes across like another saxophone on the recording. I’m equally impressed with her ability to wrap her velvety voice around these lyrics, which sells the whole notion of why we even bother to listen to Jazz. I see Rita Edmond sky-rocketing to the top of the charts  and the new jazz divas list very soon.   ALL of this spells BUY NOW!!  Get RESILIENCE!

The Dale Fielder Quartet Double CD on Clarion Jazz

http://www.dalefieldermusic.com

Dale & Rita 2015 photos Craig Robinson
Dale & Rita 2015
photos Craig Robinson

 

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JAZZ LEGENDARY VIBIST BOBBY HUTCHERSON 75 HAS PASSED 1941 – 2016


posted by Robert J. Carmack

Bobby Hutcherson in suit  color pix

 

 

 

 

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 .

Bobby hutcherson 2 color in vest

 

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CHUCK MANNING APPEARING~ PIERCE STREET JAZZ SERIES LA SIERRA UNIVERSITY


posted by Robert J. Carmack  #blues2jazzguy

Pierce Street Jazz Series Chuck Manning
Chuck Manning appearing Live at Pierce Street Jazz Series

 

 

 

 

 

 

 

 

 

 

Manning will perform at La Sierra on Wed., Jun. 15 at 7 p.m. and will be accompanied by Pierce Street Jazz regulars Henry “the Skipper” Franklin on bass, Theo Saunders on piano, and Ramon Banda on drums.

Manning studied jazz and performance at the University of North Texas. During an extensive career, Manning has shared the stage with Albert “Tootie” Heath, Al Mckibbon, Al Williams, Alan Broadbent, Alan Ferber, Alphonse Mouzon, Anthony Wilson, Andrea Pozza, Art Hillary, Azar Lawrence, and more.

He has recorded albums with the Los Angeles Jazz Quartet and has held a long-time collaboration with multi-instrumentalist Isla Eckinger. In 2008, Manning released his first solo album titled, “Notes from the Real.” Throughout 2016, Manning will tour with the Chuck Manning Quartet, Henry Franklin Quartet, and the Theo Saunders Assemblage.

Franklin has organized the Pierce Street Jazz concerts at La Sierra University since their inception as a summer jazz series in 2009. His broad experience includes recordings on more than 150 albums and compact discs including gold releases, many of which he produced.

Saunders, one of the busiest pianists in the music business, has performed in many of the world’s most prestigious jazz festivals and concert halls with distinguished artists including Freddie Hubbard, Carla Bley, David “Fathead” Newman, Barbara Morrison, Gladys Knight, and many others. He has directed music for opera productions and international musical theatre. As a composer, Saunders has numerous compositions to his credit as well as original scores for theatre, radio and multimedia production.

Banda performed 24 years with the Grammy award-winning Poncho Sanchez Latin Jazz Band. He is a current band member with famed jazz organist Joey DeFrancesco. Banda grew up in Norwalk, Calif., part of a large musical family. Over the past two decades, Ramon has performed on more than 22 recordings and recorded and played with such music greats as Dizzie Gillespie, Tito Puente, Freddie Hubbard, Chick Corea, Arturo Sandoval, Diana Reeves and others.

Pierce Street Jazz admission is free. The concert will take place at the Troesh Conference Center, Zapara School of Business. For further information, call 951-785- 2148. La Sierra University is located at 4500 Riverwalk Parkway, Riverside. A campus map is available at http://lasierra.edu/campus-map/.

MILES DAVIS 1926~1991:DEWEY@90


posted by Robert J. Carmack  #blues2jazzguy

Miles DEWEY 2 Black WhiteNOW
Miles always extremely fashionable

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Miles DEWEY Black whiteNOW

 

 

 

 

 

 

 

 

 

Miles Dewey NOW 3 silent way

Miles Dewey Davis  jazz musician,composer, and fashion setting artist turned 90 years old today. if he was still alive today ,what Miles would we see or hear from ?What would he think of the music scene, not necessarily jazz, but the whole Pop culture.  Certainly, in my opinion, he would be shocked and appalled at the really low-quality of so-called talent being “worshipped and awarded all the benefits.

Miles was one of my favorite jazz artists and more importantly, He was an inspiration to me as a young budding saxophonist in the early and mid -1960s. Fortunate for me, I got an opportunity to check out Miles for myself “Live” at the Pacific Jazz Festival held at the Orange County Fairgrounds in fall of 1966. I was much too young to have witnessed his first great quintet consisting of Red Garland,Paul Chambers,Philly Joe Jones, John Coltrane almost a decade before.  I was quite impressed as a 11th grade student to actually attend a festival with such a stellar lineup for that particular night the Davis Quintet were headlining. In addition to Davis performing was The Duke Ellington Orchestra, The Dave Brubeck Quartet and Brazilian guitarist, Bola Sete. The Davis group had the highly sought-after  Herbie Hancock, Wayne Shorter,Ron Carter and the very young Tony Williams with him. After that experience, I bought every album I could on the sidemen and Davis, as I was surely “hooked”. By the end of the decade,circa 1968 and 1969, Miles was changing up his whole approach from full acoustical jazz with further explorations of modes. But, he seemed more interested in exploring the hip, “Electric sounds” of Pop/Rock groups of the day .

howard-mcghee-and-miles-Davis 1947
Miles watching Howard McGhee

I never saw Miles again Live until one night at Shelly’s Manne Hole in 1971, with a completely revamped band consisting of  Keith Jarrett electric keyboards and Jack De’Johnette on drums ,both recent alums from the Charles Lloyd group.also Michael Henderson electric bass and Gary Bartz on saxes.  At this time Miles was promoting his new all-electric band and album “Jack Johnson” which was a cornucopia of electric keyboards, organs ,electric bass with sound enhancing devices, including Miles Davis himself trying to get through the evening without shocking himself to death with this new “Electric Trumpet equipped with wah-wah pedal and an installed mic pickup near the neck and mouthpiece. Whenever Miles would get into a groove, the trumpet would shock him because of the buildup of “Spittle” and the metallic aspects of the trumpet. He practically spent the entire evening coating his lips with a special oil, and jumping in pain whenever it would shock him. I was seated right in front of Miles less than five feet away. I enjoyed the new band overall, but it was annoying watching Miles uncomfortably play his trumpet. I felt like it was a lot to sacrifice just to produce a sound, but this was the determination and resolve of a great musician and pioneer to carry on until the ability to play the trumpet was not impeded by the amount of electricity flowing through the horn. Better technology came into play by the 80s, including the horn being fitted with a special mic attached with a long cord . I miss having Miles around just as a sort of Jazz Guru or true grit genre advocate. Happy Birthday Dewey!!  You were the Best!

miles-davis-round-about-midnight-1600-cover NOW

RAKIN’ AND SCRAPIN’ AT CATALINA’S : PHAROAH SANDERS with HAROLD MABERN


Pharoah_Sanders 901x1024posted by @blues2jazzguy

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz. Harmonically rich and heavy with overtones, Sanders’ sound can be as raw and abrasive as it is possible for a saxophonist to produce. Yet, Sanders is highly regarded to the point of reverence by a great many jazz fans. Although he made his name with expressionistic, nearly anarchic free jazz in John Coltrane’s late ensembles of the mid-’60s, Sanders’ later music is guided by more graceful concerns.

The hallmarks of Sanders’ playing at that time were naked aggression and unrestrained passion. In the years after Coltrane’s death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues — without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane.

 

Harold Mabern-Piano
Harold Mabern – Master Pianist  Harold Mabern, one of jazz’s most enduring and dazzlingly skilled pianists, was born in Memphis, a city that produced saxophonists George Coleman and Charles Lloyd, pianist Phineas Newborn Jr. and trumpeter Booker Little. He was an unsung hero of the 1960s hardbop scene, performing and recording with many of its finest artists, and only in recent years has he begun to garner appreciation for his long-running legacy in jazz and the understated power of his talent; as critic Gary Giddins has written, “With the wind at his back, he can sound like an ocean roar.”

 

 

 

 

 

 

 

 

 

 

 

 

During his over half-century on the scene as sideman and leader, he has played and recorded with such greats as Lee Morgan, Sonny Rollins, Hank Mobley, Freddie Hubbard and Miles Davis, just to name a few. “I was never concerned with being a leader, I just always wanted to be the best sideman I could be. Be in the background so you can shine through.

Tickets on sale online  call ahead for Reservations

JUNE 9th – JUNE 11th    THREE DAYS ONLY

 Catalina Bar & Grill · $$
Intimate music venue features the biggest names in jazz & serves drinks, plus Italian-American fare.
Address: 6725 Sunset Blvd, Los Angeles, CA 90028
Phone: (323) 466-2210