Wednesday, May 29, 2013

Ed Shaughnessy and The Joys of Jazz Drumming

© -Steven Cerra, copyright protected; all rights reserved.


"The superb engine that drove the Tonight Show Band for thirty years ... with spirit and immense skill."

Doc Severinsen, Trumpeter & Director of The Tonight Show Band

In 1936, Irma Rombauer wrote a cook book entitled The Joy of Cooking [the book is so popular that it has never been out-of-print].

Over the years, I’ve never met anyone who enjoyed Jazz drumming more than Ed Shaughnessy. He could talk about it and demonstrate it for hours on end.

Once, while having lunch at the coffee shop on Vine Street just down from the offices of Musicians Union Local 47, I kidded Ed with the suggestion that, given his passion for Jazz drums, he should consider writing a book and call it The Joy of Jazz Drumming.

He laughed, pointed to my French fries and said: “Are you going to eat those?”

After we ate, we walked across the street to the Professional Drums Shop where Ed pretty much talked away the rest of the afternoon trading comments with the shop’s patrons on the subject of … wait for it … different sizes and shapes of drumsticks! In the process, I think Ed must have tried every drum stick in the store.

Watching him that afternoon at the Pro Drum Shop, you couldn’t keep the phrase - “Like a kid in a toy store” – from entering your mind.

Ed was fearless when it came to Jazz drumming. Nothing stopped him if he decided that there was something on the subject he wanted to know.  I remember him being all-over Louie Bellson – one of the nicest people ever to inhabit the Jazz world – about the technique involved in using two, bass drums. Louie finally turned to Ed and said in his gentle and considerate way: “Just do it.” So Ed did and became one of the few Jazz drummers to master the technique of using two, bass drums.

Edwin T. Shaughnessy was born 29 January 1929, in Jersey City, New Jersey. A self-taught drummer, Shaughnessy came to prominence, mainly in the New York area, in the late 1940’s working with George Shearing, Jack Teagarden, Georgie Auld and especially Charlie Ventura.

In the 1950’s he became more widely known owing to engagements with bands led by Benny Goodman and Tommy Dorsey and he also worked with Johnny Richards. In the 60s he was with Count Basie and also worked extensively in New York studios, securing a long-term engagement with The Tonight Show band.


When the show moved to “beautiful downtown Burbank, CA” and became The Tonight Show with Johnny Carson, Ed decided to “relocate to The Left Coast.”

I lived in Burbank at the time and since the show taped at 5:00 PM PST, I would have dinner on occasion with Ed or meet him later for a drink at Donte’s, a popular Jazz club on Lankershim Blvd. in North Hollywood.

Although best known as a big band drummer, Shaughnessy's considerable skills spilled over into small group work with Gene Ammons, Roy Eldridge, Billie Holiday, Mundell Lowe, Teo Macero, Charles Mingus, Shirley Scott, Jack Sheldon, Horace Silver and many others.

For several years Shaughnessy was a member of the house band at Birdland and other New York clubs. In the early 1970’s he was doing similar work in Los Angeles and is credited with discovering Diana Schuur, whom he introduced at the 1976 Monterey Jazz Festival.

In addition to his work on The Tonight Show with Johnny Carson, Ed Shaughnessy has also played in an early incarnation of the "Sesame Street" orchestra along with percussionist Danny Epstein, reed player Wally Kane, and, on occasion, freelance guitarist Bucky Pizzarelli.

Ed Shaughnessy's consummate drumming skills enabled him to become a sought-after teacher, an activity which he pursued while simultaneously maintaining a busy recording and live performance schedule.

Last year[2012] Ed Shaughnessy published his long awaited book "Lucky Drummer - From NYC to Johnny Carson" with great personal stories from behind the scenes.

I still think he should have entitled it – The Joys of Drumming.

Ed passed away on May 24, 2013 and the editorial staff at JazzProfiles thought it might be nice to remember him on these pages with the following excerpt from Burt Korall’s Drummin’ Men The Heart Beat of Jazz: The Bebop Years [New York: Oxford University Press, 2002].

© -Burt Korall/Oxford University Press, copyright protected; all rights reserved.


“He was the most visible drummer in America during the years he spent on NBC-TV's Tonight Show in New York and Los Angeles. Thoroughly capable, Ed Shaughnessy handled all kinds of situations, including appearing in tandem with Buddy Rich—a challenging matter at best. This affable, ambitious musician, however, is far more than a generalist on the instrument.

From the outset, Shaughnessy, a poor kid from New Jersey, had a deep, abiding love for jazz and drums. He went to great lengths to learn and be a part of the music. He studied with Bill West, a drum teacher in New York, though very hard put to pay for lessons.

Shaughnessy played and practiced day and night. Vibraharpist Teddy Charles, a longtime mutual friend, said: "We all did that; it was the only way to make it."

As a teenager, Shaughnessy spent almost every evening and early morning in Manhattan clubs, hotel entertainment rooms, and ballrooms, listening to and watching drummers. Those who made a point of keeping youngsters out of places where small and big bands played learned to tolerate ‘the crazy kid from New Jersey.’ They allowed him to stay, as long as he remained out of the way.

Finally Big Sid Catlett, the legendary drummer, noticed him and, as was his wont, approached the youngster, talked to him, and suggested he sit in; Ben Webster (tenor) and John Simmons (bass)—jazz royalty in the 1940’s—were in the group. When asked, Shaughnessy nearly fainted from fear, but he did well. Catlett became his mentor. Catlett, Max Roach, Art Blakey, and Buddy Rich were influences, great sources of inspiration.

Love often is rewarded. Shaughnessy played with some bands— Bobby Byrne and Randy Brooks— worked with Jack Teagarden, sat in with Bud Powell on 5ind Street, playing Cherokee for twenty-five minutes at an absolutely hysterically fast tempo. Powell was quietly impressed, and word spread that a young white guy could really do it. George Shearing was in the audience that night and hired the young drummer on the spot.

Shaughnessy's hunger to play, his need to master the instrument and be able to play any kind of music — was apparent to everyone who met him. Bassist Phil Leshin remembers: ‘Eddie and I were kids together and hung out on the New York scene, always looking for some place to play. We used to go to Verland Studios, over a firehouse on 47th or 48th Street. A lot of the guys involved in modern jazz showed up at the sessions — Allen Eager, Al Cohn and Zoot Sims, pianists Harry Biss and Harvey Leonard, guitarist Charlie Byrd.’


Shaughnessy hooked up with the Charlie Ventura Bop for the People band in 1948 and became famous. Tenorist Ventura, Conte Candoli (trumpet), Bennie Green (trombone), Boots Mussulli (saxophone), Kenny O'Brien (bass), and pianist-singer Roy Kral and singer Jackie Cain, his wife, helped popularize modern jazz.

The Ventura group featured a provocative blend of the scat vocal unison style of Krai and Cain and the hip, accessible instrumental sound of the band. The players were good, and Shaughnessy took hold, playing well in a contemporary way. His facility, fire, and two-bass-drum set caught the attention of audiences and other drummers.

Shaughnessy was one of the first white drummers to deal with bebop in a strong and persuasive manner. His increasing ability and continuing intensity motivated Benny Goodman to hire him for a 1950 tour of Europe with a small band that included the influential trumpeter Roy Eldridge. Unlike most musicians, the drummer got on well with Goodman.

He replaced Buddy Rich in Tommy Dorsey's band and stayed for a while, building his reputation. He worked with Lucky Millinder's band in Harlem and for a short time with Ellington, sat in with Charlie Parker on several occasions, and got into experimental jazz with Charles Mingus, Teddy Charles, and Don Ellis. He was becoming an increasingly important New York jazz figure.

Shaughnessy began working on television in the 19508 on a daytime Steve Allen Show broadcast by CBS. One thing led to another. He did more studio and staff work. He recorded with Basie and played an increasing number of small and big band record dates featuring leading players and writers.

The drummer joined the Tonight Show in New York in 1964. He moved to Los Angeles with the program and remained with it until Johnny Carson called it a night.
He headed a big band and small group of his own in L.A., always attempting to stretch the envelope. Growth was very much on his mind.

Barry Ulanov got to the heart of it when we talked about the drummer: ‘Ed is one of the most accountable musicians I ever heard,’ the critic asserted. ‘You could depend on music coming out of the man. His hands are fast. His thinking is good. His ears are alive.’

Today, as in the past, Shaughnessy remains busy — teaching, touring with Doc Severinsen's band, studying, seeking new musical experiences.”

Here’s Ed with Buddy Rich with Johnny Carson’s Tonight Show band. There aren’t that many drummers who’d be left on their drum stools after “dueling” with the great Buddy Rich.

[Click on the “X” to close out of the ads].



Monday, May 27, 2013

Los Angeles Jazz Institute, Day Four, 5.26.2013 - “Swingin’ On A Riff: Big Band Masters of the 21st Century.”

© -Gordon Sapsed, copyright protected; all rights reserved.


The last Day of the current event opened with an hour-long film show, starting at 8.30, tracking the emergence of West Coast Jazz on film, with some rare clips. Ken Poston traced the music from Lester Young, Claude Thornhill, Gil Evans and Gerry Mulligan  with clips that also included Shorty Rogers, Marty Paich and others.

It was then time for the 'extra added attraction' - a new-style LAJI fundraiser event, lasting 3 & 3/4 hours, within the main event, offering brunch with the music (or not, if preferred) - "The Birth of the Cool and The Origins Of the West Coast Sound".

Composer/Arranger/ Bandleader Chris Walden then directed a 17-piece band re-creating Claude Thornhill's music complete with French horns and tuba and arrangements from Gil Evans and Gerry Mulligan, among others. As Chris said "This music could have been written 10 or 20 years ago, but dates from the 1940's ...

Charts played included Yardbird Suite, Anthropology, Donna Lee and Godchild as well as Thornhill icons such as Snowfall, Robbin's Nest and Rose of the Rio Grande

Hearing this music live was a different experience from the surviving recordings - one enthusiast told me that he felt "It did not feel as light as I normally expect to hear it". I thought that the clarity distinguishing individual instruments seemed notable, although , as ever for my taste, the LAJI sound mixing was generally too loud.


Chuck Findley was next up leading a 'Miles Davis' Nonet through the Birth of the Cool charts. Again the tuba ( Bill Reichenbach) and French horn (Stephanie O'Keefe) parts were notable - this time being full members of the band , with solo space. Matt Harris, from California State Northridge had been brought in to add his familiarity with this music - in the John Lewis piano role in this set and as director for the following set. Ira Nepus on trombone and Chuck Berghofer on bass were among those brought in just for this Nonet set.

'Miles Ahead - the classic Miles Davis plus 19 collaboration with Bill Evans' was the third event for this special morning and featured Bobby Shew in the Miles Davis role.
The originally - released album was a mix of spliced sections, over-dubbing and reworking, none of which was available for this live performance. However, the result was outstandingly good as has been almost everything during this four days. The caliber of musicianship has delighted even the musicians themselves  and congratulations between musicians and from their leaders has been frequent and well-deserved.

A characteristic of the weekend has been the emergence of a new generation of LA musicians  - some familiar, some less so, but playing with phenomenal technique and, I thought, more personal involvement than might have been the case is earlier times. 

Another observation for me was that, in earlier times, if I saw a new young face, I mentally 'wished him luck' when he was perhaps exposed by a solo opportunity.
This time round I found myself being relieved when a veteran musician pulled something off in the very challenging company of talented younger players and attracted nods or gasps from the youngsters!

The set-list for the Miles Ahead set was, essentially the album titles.

The hour long Composers Workshop, moderated by KJAZ's Helen Borgers, had Kim Richmond and Chris Walden participating, but lacked Bob Curnow who could not make the trip due to health issues.

The Workshop, I thought, was less interesting than the earlier ones, being bogged down in the perennial debate about the death of big band music ( strenuously denied) and audiences for Big Band music (less strenuously denied). There were some good words said about the overall impact of the work of Gordon Goodwin with younger people and its impact on the whole big band appreciation scene. Kim Richmond made some good points about the different skills evident among younger players and his own experience in dissolving and re-creating his own band.


Kim's 23-piece  Concert Jazz Orchestra then gave an hour plus concert, with much of the material drawn from his newly-released tribute to Stan Kenton "Artistry". This music really had the audience on their feet and cheering long before the end. It is billed as 'orchestral jazz' and Kim acknowledges the inspiration of the Kenton Neophonic as a source, but with his own writer's twist.

Re-writes of Artistry in Rhythm, Intermission Riff and even a almost unrecognisable Peanut Vendor were part of it, but 'Poetry', 'Zippidy Altered' and the wonderful Neal Hefti theme 'Virna' were outstanding, with each bringing something totally unique.
I thought this an outstanding set and thoroughly recommend the album. A highlight of this Festival.

Hubert Laws guests on the album but Alex Budman did an outstanding job live - as did other soloists.

We then had 3 and a half hour gap to the final set billed as 'Bob Curnow LA Big Band Reunion'.


In Bob Curnow's absence Bobby Shew directed the band, which played the Pat Metheny music Bob Curnow arranged a couple of years ago for an album recorded in LA with Bobby and several other band members as part of that recorded line-up. The music was also, on that previous occasion, presented at an LAJI event.

The set list was 11 items from the Metheny/ Curnow collection and included pieces from other  Metheny jazz outings such as an encounter with Chet Baker, entitled "Chet's Call". Especially notable was Bobby Shew's sole feature - a beautiful melody written by Pat Metheny and dedicated to his parents "Always and Forever".

As Bobby said, regarding the rest of the music, "I think Bob Curnow has some Wagnerian blood"  and certainly this LAJI event went out with a huge BANG as the FFF's dominated - with high trumpet lovers especially excited.

Jack Bowers, who was at this event will be offering a more considered review of it all in his Big Band feature on All That Jazz in the weeks to come.

I apologise for the necessary haste in compiling these notes off the top of my head between sets  and thank you for your comments off-line, encouraging me to continue.

The photos, with many many others are beginning to appear on my Gallery at www.gordonsapsed.com and will continue to do so when I get back to UK.

Gordon Sapsed



Sunday, May 26, 2013

Los Angeles Jazz Institute, Day Three, 5.25.2013 - “Swingin’ On A Riff: Big Band Masters of the 21st Century.”


© -Gordon Sapsed, copyright protected; all rights reserved.


“I must firstly apologise for my error yesterday in implying that the USC band had started their set late - whereas they were not even invited this year..... The honour of opening the Festival this time was with the Fullerton College Band - who turned up on time but minus their leader.

I'd have to say that Bruce Babad (their leader) has more than compensated since with his contributions to the Festival as well as joy he has brought me in the past with his playing. I was delighted to hear that he is planning to record a second Paul Desmond Tribute album later this year - no surprise really following the success of his earlier one.

Saturday morning's LAJI programme opened at 
11 am with a film show - this time focused on jazz related clips from the 1950's . With arranger/composers as the theme, the first film clips showed Kenton's band of that period playing 'I Feel Pretty' and 'Maria' - from the Ed Sullivan show. Interesting was a glimpse of young Carl Saunders wrestling with a mellophonium.

Later clips showed Andre Previn playing with Bobby Darin, a Nat Cole rendering of a song written by Pete Rugolo and footage from Johnny Mandel's score for 'I Want to Live' plus the jazz club scenes. Woody's band was represented in several clips including a rendering of Bill Holman's arrangement of "After You've Gone ".

In the Workshop discussion later in the day Bill Holman said how it took him about two weeks to complete that arrangement as relevant 'crazy ideas' emerged daily to incorporate in the score. He was relieved and delighted that Woody liked it and , in retrospect, he feels it was something special in his career. Woody said 'Thank you for sharing your thoughts with the band'.

The Workshop/ Panel discussion, moderated by Kirk Silsbee was, I thought, very effective, concentrating as it did on HOW arrangers work. The 'Panelists' were Bill Mathieu, Bill Holman and Lou Rovner - each very different in their musical style, how they trained and how they tackle their work.

Before the panel started we had a chance to hear Lou Rovner's work - which many of us had never heard before - although every member of his 10 piece "Small Big Band" was a familiar face to LAJI audiences.

His music was, for me and for many others, a total revelation and an absolute delight! As they say - well worth the price of admission if we had to go home now....
His music, in retrospect, is perhaps best heard when you know a little about him - but don't bother to go to record shops. His only recordings are on his website - but downloadable free. (I haven't tried it yet) . The website is www.LouRovnermusic.com.

He grew up in
Chicago, but left town at 17 and , among other things, spent a year at Berklee and also qualified to become a practising psychologist.

He claims to have no musical style of his own , but seeks to write things which are different to things he has written previously ... I can only say that every instrumentalist in the band plays a role in everything - often doubling. Each player gets features but none have a single role. The repertoire is totally mixed and this list gives you no idea how it sounds. Take, for example Neal Hefti's "L'il Darlin'". Lou decided to arrange that but use none of it and instead carry that mood into "It's Only a Paper Moon", or , strictly speaking, a series of short vignettes related to 'Paper Moon', with an overall mood of 'L'il Darlin'. - Still with me?

This really WAS a set where the musicians had fun, but maintained their competence whilst smiling and laughing.

Totally delightful music - with an impression that they made it all up as they went along - another of Lou's goals ...

The Lou Rovner set list was : Hi Fly, Body & Soul (at a fast tempo), Take Me Out To The Ballgame, 'It's Only a Paper Moon' - and 'Milestones'.

Interestingly, one theme of the Worksop/Panel discussion was 'writing so that it seems they are making it up'. All three panelists cited that as a worthwhile goal, although all three also found such a quality in some classical writing from Mozart and even Beethoven ...

All three also spoke of having in the past felt, on hearing something inspirational that 'I could write that' - but then, with pencil and paper in hand found that they couldn't!

Regarding personal style, Bill Mathieu told of years of studying other American composers, Europeans and even music from Eastern cultures, before realising - sometime after age 50 that he was writing stuff which was peculiarly his own. Bill Holman reported no such 'nirvana' or 'serendipity', but recalls , quite early in his career, being told that people could recognise his style.

Lou, as said above, seeks to 'not sound the same twice' ( despite having spent some years writing for shows and acts in Vegas).

Both Lou and Bill Holman spoke of a personal challenge, perhaps imagined, that they feel to keep their top-calibre players interested in coming to unpaid rehearsals !
Bill Holman also spoke of an almost unconscious goal, derived from his playing background to write things that are playable. Bill Mathieu said he tries to stay away from the piano as long as possible 'To not limit what I'm writing to the abilities I have as a pianist'. He recommends to students not to sit close to the piano. Instead 'you must get up to go and check things'.

A very worthwhile Workshop, I thought.


The afternoon closed with a romping set from Ton Kubis's Band - "excuse us rushing - some of these guys have real jobs tonight".

Several top LA players appeared for the first time this weekend in Tom's Band - Sal Lozano, Andy Martin,
Wayne `Bergeron and such. Within the Festival's theme of composer/arranger bandleaders it was a typical Kubis set - a lot of swing, a lot of energy, a lot of laughing and great music. Herman sold out of the band's new CD afterwards and 'could have sold 50 more copies'.

If the titles matter (or are even correct ) : "Uptown Blues", "Hey Georgia" ( a Georgia Brown variant), In a Mellow Tone, "Hi 5's ('- and a good chance of
Wayne ???), Alone Together, Some of these Days ( rendered for dancers in alternate styles), Triste (a feature for guitarist Mike Higgins), Bill Bailey Won't You Please Come Home.
Some audience members noted the band's upcoming monthly date in
Huntington Beach on Monday - they can't get enough of this band ... 

I'll bring you notes on the BIll Russo and Bill Holman concerts in a later post and some photos - it's a very full day here today with an 8.30 a.m. start .

Saturday evening brought 'The Music of Bill Russo' , with the 'Los Angeles Jazz Orchestra' ( an aggregation put together by LAJI), directed by Bill Mathieu. Bill had, in the Workshop discussion said how significant this concert was for him, bearing in mind his long association with Bill Russo, who had also been his tutor and mentor ('gaps in age get smaller as you get older').


The band once more introduced faces not seen earlier in this Festival - with the opening number 'Over The Rainbow' featuring one such, Eric Jorgensen on trombone. This was followed by Russo's arrangement of 'Autumn in New York' featuring Ron King and The former Frank Rosolino feature for the Kenton Orchestra  'Frank Speaking' , with George McMullen taking the solo part.

'Dusk' was followed by "Portrait of Conte Candoli", with Bob Summers in the Candoli role. There continued a mix of Russo compositions and arrangement for the Kenton Orchestra alternated with material issued under his own name in later years :
'I've Got You Under My Skin', Fascinating Rhythm', Sophisticated Lady' (featuring Bruce Babad on alto), and then something different. That was Bill Mathieu's own 'audition piece' for the Stan Kenton Library "Silhouette" - which had been played here a couple of years ago in Bill Mathieu's own concert but was chosen by Bill on this occasion to highlight his own dedication to the Russo arranging influence and style.

The remaining pieces were all Russo's work - 'You and the Night and the Music', Shadow Waltz ( a surprise for many) and perhaps the inevitable closer '23 degrees North 82 Degrees West'- which had bravely (and beautifully) been offered by the Fullerton College student band on the first morning, in Bob Curnow's Kenton Kollage.

For my personal taste Bill Russo's work, on this showing under Bill Mathieu's guidance, moved up in my estimation. I found it lighter and more 'swinging' than I remembered it. I think the presentation and success owed a lot to Bill Mathieu's fondness and care.


Top of the Bill for Saturday Night was Bill Holman's Band, which again brought new faces and revealed an absence of some faces formerly in that band. At one stage, in introducing the players Bill said "Yes - they really are old enough". - 

Age was not really the issue  - the audience were, I'm sure potentially more concerned about competence. But they needed to have no fears - the newcomers coped with everything in front of them perfectly and then added solos that were sometimes perhaps beyond the limits of their predecessors, both in technical skill and creativity.

As Kim Richmond said next day in the Workshop discussion -"There are really top class talented jazz players these days in every American City and here in LA about 20 for every top job on every instrument.”

Bill Holman's Band still had veterans like Billy Kerr, Bob Efford, Jack Redmond Carl Saunders , Ron Stout and Bob Summers but alongside them drummer Jake Reid, bassist Alex Frank and even piano player Christian Jacob were among new faces to many of the audience - at least in this band.

Some of the music was more familiar, but some also very new to the band book. They opened with 'No Joy in Mudville' - an opportunity for several newcomers to stretch out and then Woodrow, St Thomas and a feature for Carl Saunders 'Sweet Spot', "Zoot and Al" gave Doug Webb and Rickey Woodard a chance to extend themselves and Bruce Babad did a superb job with 'Lover Man". Bill Holman confessed to being fascinated by the notion of "Zamboni" ( as was Snoopy !) and used it to real workout the whole band - Bob Summers and Doug Webb excelling.
The encore was drawn from the Band's Thelonius Monk repertoire "Bemsha Swing".
My overall impression of the band this time was that it is a transition period with new players and new material 'bedding in'. Very enjoyable - but different and hinting at a lot to come ....


and so to tomorrow - our final day of this Festival.

Gordon Sapsed



Saturday, May 25, 2013

Buddy Rich and ANIMAL: The Legendary Drum Battle on The Muppet Show 1980

Los Angeles Jazz Institute, Day Two, 5.24.2013 - “Swingin’ On A Riff: Big Band Masters of the 21st Century.”

Visiting from Southampton, England, Gordon Sapsed continues his reporting on the Los Angeles Jazz Institute’s biannual, 4-day festival at the Los Angeles Airport Marriott Hotel. You can locate the full program for the Spring, 2013 Concerts by visiting www.lajazzinstitute.org/.

© -Gordon Sapsed, copyright protected; all rights reserved.


“The second day of the LA Jazz Institute's 'Swingin' on a Riff' events began with a Film show hour - "Central Avenue Breakdown".

As with the previous day's film show this attracted about 150 attendees ( my estimate) from the 200 plus that had attended the final session the previous day.

Comprising at least 20 separate clips the show principally had footage from the 1940's. Ken Poston, in his introduction said how Central Avenue was at that time a very lively area for jazz flavoured entertainment - although little was reported in the LA Times of the day. The jazz scene in the area had existed from the 1920's with performers such as the Original Dixieland Jazz Band, Jelly Roll Morton , Kid Ory and others. Later developments had the Nat 'King' Cole Trio, Duke Ellington's band, visits from Louis Armstrong and others and local black bands - as shown previously. For this show, footage was of these artists but from non-LA sources in some cases. Early 'Modern' jazz players shown included Hampton Hawes, Buddy Collette and Lucky Thompson. There was also film of jazz players performing with Johnny Otis and T-Bone Walker from early TV shows.

First band up in the main room was the UCLA Jazz Orchestra who, like their rivals the Fullerton Jazz Orchestra the day previously, lacked a leader when show-time came and didn't get started until 15 minutes later when Charley Harrison appeared to conduct them.

Their 36 minute set comprised Kim Richmond's arrangement of 'Lady Bird', 'Lion and The Lamb' , Bob Mintzer's arrangement of 'Dolphin Dance', A beatiful piano feature built around 'Young and Foolish', and a very-professionally performed arrangement of Bill Russo's 23 degrees North 82 degrees West from the Kenton band book.

Everything the band played seemed faultless, with effective tone shadings and confident playing throughout. The solos offered were mostly outstanding - again showing a great deal of rehearsal and effort as well as high technical ability. 


After lunch it was the turn of Steve Huffsteter's Big Band which included a further set of LA's finest - Kim Richmond , Doug Webb and Alex Budman among the saxes, Scott Whitfield and Jack Redmond among the trombones and Pete De Siena with Mark Lewis among the trumpets. Charlie Ferguson, a highly rated young star, was at the piano. 

Steve Huffsteter, as he explained in the later panel discussion, has been writing music since he was about 12 years old and his band book is mostly his own compositions plus some arrangements of standards.

He told how a conversation with Dizzy Gillespie about the inappropriate use of the E natural note in a G7 chord inspired him to write "Dizz-Ception" , a piece dependent on that chord usage as an exception to the rule! He is having difficulty with the title for another piece temporarily named 'Nostalgia' - a name he thinks inappropriate. 

Characterised by careful attention to detail and played with precision, Steve's work is that of a musical craftsman and was played by players happy to be part of it and enjoying the experience.

The whole flavour of this festival with bandleaders participating in presenting music which they have created and personally written down ( or typed) is very evident in the way it comes over. Steve's band was one such.

Other pieces played were 'Rizzle (?) - 'every big band has to have a Rhythm Changes chart - this one of the fast and furious variety and Steve's 'hit' "Night Walk" - which he said yielded over $40 in royalties .....

Alone Together was re-clad as "Joint Tenacy" - an opportunity for trumpet duetting with Mark Lewis and `Steve' - who acknowledges how difficult it is for trumpet soloists in a trumpet leader's band. In saying that he paid tribute to the recent Mike Vax tour, where Steve was a sideman.

A driving original 'Waltz and Battery' ended the set.

The 'Composers Workshop' Panel discussion involved the day's three leaders Steve, Gary Urwin and Alan Broadbent. The discussion was moderated by Ken Borgers. This hour was characterised by all three panelists being especially revelatory about their early musical influences and experiences. Gary Urwin told of his move from rock guitar to arranging and both Steve and Alan spoke of music from childhood out in the boon-docks to the later music scene in the centre of the action.


Gary Urwin, who, usefully, has a Law degree as well as his musical talents, has a 'business manager' (sitting in the front row) who helps him bring together the A-list talent for his big band, who took the stage late afternoon for an hour. With three albums already available and a fourth on the way the band can be heard on radio and recordings although they rarely appear live.

Featured soloists throughout the set were Pete Christlieb, Carl Saunders and pianist Christian Jacob, with Bill Watrous as a special guest - not playing in the trombone section.

Bill Watrous, prior to his contribution, took the unusual step of paying tribute to Charlie Loper, who WAS in the trombone section , saying ' Charlie may be embarrassed to hear this but I regard him as the greatest trombone player I have ever heard in my life'.

(Charlie, as predicted, was embarrassed while the band and audience applauded.)

Gary Urwin's charts, which mostly draw on The Great American Songbook or jazz standards, undoubtedly take a new approach, with ' a lot going on' and particular attention to the dynamics and multi-instrumental usage. He also draws widely for material (e.g. the Disney 'Beauty and the Beast') . Titles included My Foolish Heart, Joy Spring, Waltz for Debbie, and the bossa-nova Gentle Rain. An up-tempo, 'more PC', re-working of 'Girl Talk' as 'Women's Conversation' has apparently been an unexpected radio hit for the band. 

I also enjoyed Carl Saunders' original tribute to Bob Florence "Dear Mr. Florence" and the bebop closer 'Shaw 'nuff'.

As previously the composer-writer's presence to get tempos exact and offer a nudge here and a twist there made a difference, but even these A class players, familiar with the charts, had to sit forward in their seats most of the time .... 

The evening session brought two sets from "The Alan Broadbent Big Band' - an aggregation created for this Festival.

Alan opened by saying how he had not regularly written music for a big band since his days with Woody Herman in the late 1950's. He also said that his set of original compositions had grown at about 1 a year in the last 5 decades, but a dozen of them would feature tonight.

In recent times he had arranged his material for the Phil Norman Tentet and he had 'fattened up' those charts, and also added some charts originally written for Woody to build the two sets on offer.


The piano had been moved to centre stage to allow Alan to play as part of the band. For some numbers he played an unaccompanied intro - as he often does with his trio, whilst in others he had written parts within the score or occasional solos.

Based as he now is, on the East Coast, this was a coming-together for Alan with these players and new charts, although he had played with many of the players in earlier days. There was a lot of close attention, but also a lot of smiling and nodding and congratulation as the sets developed. They enjoyed being part of what felt like a very special occasion. 

Alan was clearly delighted with this opportunity to , as he said, 'present my work to these guys - to add their personal touches and then share the whole thing with you - the audience'. The audience response both in applause, those standing ovations and the discussions afterwards was, as I heard it, all very favourable and in some instances almost awestruck ...

An abundance of impressive solos from the band- notably Doug Webb and Jerry Pinter on tenors, Bruce Babad on alto, Scott Whitfield and Alan Kaplan on trombones and Carl Saunders and Jeff Bunnell on trumpets as well as Alan's long-time associate Putter Smith on bass and Bernie Dressel at the drums. The other band members also soloed occasionally and played crucial parts in the detailed arrangement. Alan Broadbent charts often have bebop running through them and his fondness for that genre is mixed with a lot of emotion, be it happiness, grandeur or simply 'landscape'
One original 'A long white cloud' actually took us on a boat across the South Pacific in that Maori-inspired vision - broad grandeur, yet jazz flair.

Other Broadbent tunes included Sweet' Pea ( for Billy Strayhorn), 'Love in Silent Amber ( an original for Woody's book), Chris Craft (combining half a dozen Bird themes), and Woody 'n Me ( again for Woody)

In the second set Glen Berger was the key soloist for 'Don't Ask Why' ( Alan's memorial for Irene Kral), and the whole band excelled in 'America The Beautiful' ( Alan said ' every arranger has had a go at that') .

The closer was 'Sonny Step' with 'Journey Home' as an encore, both former trio offerings enlarged for this Big Band opportunity.

Altogether a memorable day, with an attendance, including musicians and musical associates, much closer to a full house.”


Friday, May 24, 2013

Los Angeles Jazz Institute, Day One, 5.23.2013 - “Swingin’ On A Riff: Big Band Masters of the 21st Century.”





It’s that time of the year again when the Los Angeles Jazz Institute holds it biannual, 4-day festival at the Los Angeles Airport Marriott Hotel. You can locate the full program for the Spring, 2013 Concerts by visiting www.lajazzinstitute.org/.

Gordon Sapsed arrives from Southampton to attend these event. He generally does write-ups of each day’s activities and has been kind enough to allow the editorial staff at JazzProfiles to share them with visitors to the blog.

Our thanks to Gordon for his generosity in preparing and sharing these observations and comments about the LAJI Spring Festival and, in so doing, making it possible for us to take a bit of a “Spring Break.”

© -Gordon Sapsed, copyright protected; all rights reserved.

“On Wednesday this week a bus-load of enthusiasts took the 12 hour round trip from the Marriott Lax to Las Vegas to attend two concerts recalling jazz of yesteryear in 'Sin City'. Reports were that Carl Saunders and Bobby Shew were in fine form playing with a big band aggregation of jazzmen still currently based in Las Vegas.


Tommy Vig had also flown in from Europe to lead the group through some of the charts which established his name there in earlier times.

Thursday brought the first day of the Festival proper, but the opening half hour was not perhaps what Festival attendees expected. 

All events this year are being held indoors so the usual music by the pool in the California sunshine was not available.

Starting time came and went, with an audience of about 100 looking at the Fullerton College Big Band who were assembled and ready to play in the Marquis Ballroom.

Then, in the absence of their leader and with no introduction, student singer Greg Fletcher took the initiative and the band struck up without a conductor. The Four Day Festival , subtitled 'Big Band Masters of the 21st Century' was underway!

The Festival's underlying design seeks to bring to the audience the sounds of Big Band leaders who compose and arrange their own music using bands under their own baton, with a sub-theme that notes LA-based music from before the swing era to the sounds of today.

Joined, after about 20 minutes, by their leader Bruce Babad, the Fullerton band demonstrated their familiarity with the whole gamut open to them. Bruce and singer Greg soon had the audience responding as they recalled Cab Calloway's 'Hi-Di-Hi-Di-Hi' and then, with some talented section work from everybody in this high class College Band carried jazz forward through the swing era , bebop  and especially enjoying a new Kenton Medley titled Kenton Kollage. I also enjoyed their take on a big band version of Cherokee - their closer at Monterey where they recently won a major award. They had apparently learned from that previous experience - judge Jeff Hamilton having suggested that the tempo had been set ' a little too fast for the band members'. Not so on this occasion where almost any band leader would be ready to sign up the whole crew for a coast to coast tour. In summary, a fun set with a lot of smiling, hard rehearsal work evident and some real talent on show.

Age-wise. the next band up was at the other end of the spectrum but none the worse for that. 


David Angel, who I mentioned here earlier this year when he appeared at the Lighthouse with his 'Saxtet', (photos on my Gallery at www.gorodnsapsed.com) brought his "Big Band" along - with an instrumentation unlike any Big Band that you might ordinarily envisage. The line-up has 5 reed players - each doubling on three instruments or more and a second line with a trombone, French horn, cornet, flugelhorn and tuba. A piano-less guitar-bass-drums rhythm section completes the ensemble.

David's arrangements, sometimes involving instrument doubling within the same phrase, are delightful.

David draws on themes from established composers of any era - with a special fondness for Ellington - as well as his own originals.

Some songs are arranged to allow a lot of solo space while others are built around features for the sound of one instrument.

I particularly enjoyed Stephanie O'Keefe's French horn feature on "A Flower Is A Lovesome Thing", a romping 'Rangoon Express' with solo space for several and "Wild Strawberries" recalling a drive when David felt inspired by an expanse of strawberries  - you could almost taste them. Interesting brass combinations abounded in this music, as well as those Angel-saxes. 

The leader joined in on tenor sax for the final solos-all-round 'Alright' .

A few words about this years sound. Miking of every instrument continues, with mixed results. As the day went on I thought things improved, while others said the sound was 'better further back'. The vocal mike was indistinct early in the day and there remains a problem of failing to identify soloists until mid-chorus.  The huge 'stadium-rock' speakers have given way to smaller stacks but are still very loud for the front rows. There was quite a lot of sound technician activity - rushing about plugging and unplugging things for most of the day.

Sound in the Meridian Room for the panel discussion was a different issue. 

There were three people on stage for 'Panel 1 - Jazz Composer's Workshop 1'.  Larry Hathaway moderated - for the 27th year in LAJI's history of these events - with Mike Barone and Roger Neumann sharing their ideas. David Angel, I understand, had to leave for a flight to Europe, although scheduled to take part.

Mike and Roger both outlined their own histories in becoming arranger/composers and developing their own bands. They also shared their respective histories from early days in Iowa, or wherever,  various musical experiences and forks in the road  and both eventually settling in the LA area. They also both cited Bill Holman's work as an early inspiration in their arranging.

It  was a pity that, despite six or more mikes arranged on the panel table , no mike was made available for audience contributions and dialogue with the audience was difficult. The panel discussion attracted almost a full house as did the following movie session.

Ken Poston had, as usual put together a collection of clips from the LAJI archives, this time with a theme " The Swing Era in Los Angeles". Most of the early clips involved variations of the Les Hite band - occasionally fronted by a young Lionel Hampton or Louis Armstrong in the 1920's and 1930's. There were also clips involving Spud Murphy as leader and later offerings showing Benny Carter and Bobby Sherwood in the 1940's. One clip showed the earliest Stan Kenton band - even pre- Howard Rumsey!  Bobby Sherwood's nephew Carl Saunders, was among the audience. 

Mike Barone's set gave opportunity to hear some examples of things he had mentioned earlier. His own trombone background shoed through in his arrangement of 'Birdland', also saxes doubling  and flugelhorn doubling in other arrangements.


Mike's fondness for less common themes showed in his powerful version of 'his pal Rimsky's' Flight of the Bumblebee, and in a re-arrangement dedicated to Sweet Georgia Brown's sister - "Sour Sally". The set featured outstanding solos by several band members , with Bob Summers frequently popping up to surprise and delight. A new arrangement of "Sheik of Araby'", which appears on the band's latest (9th ?) album caught my ear among several others. The closer was the Limehouse-Blues-based 'Limes Away).

Top billing for the day - with two sets in the evening was "Roger Neumann's Rather Large Band". Dress for the night had been defined as 'bright colours' and Scott Whitfield was deemed to be 'best dressed'. Scott was one of several arranger/composer/ bandleaders in Roger's band who, but for the grace of Ken, might have also been on show with their bands - others included Alex Budman on tenor sax and Geoff Stradling on piano.

This aggregations of some of LA's finest was supplemented by two short sets of Madeline Vergari singing not only her husband's arrangements but some others from her repertoire. The band was also notable for having a female member in every section.


Roger's arranging/composing work history enabled him to draw on material written for Buddy Rich, Ray Charles, Ray Anthony and many others, as well as some contributed by earlier members of Roger's long-established (1974 ?) band. 
There was a lot of creativity in the music - fancy A-Train in 6/4 ? - or a tuba/piccolo feature using Tadd Dameron's 'Good Bait' ?

The band had a great laid-back feel in several blues-based compositions such as EZ-chair from a former bass-player and current bass player Kirk Smith taking an extended bass walk to give the whole band solo opportunity ....

Charlie Parker would have been flattered to hear 'Au Prive' in a setting where all the saxes paid tribute as well as the brass sections.

Jamie Havorka was impressive leading the trumpets and Matt Witek, who I had not previously heard with a big band, drove everything strongly. The future of Big Band music is in good hands.

Altogether an entertaining set with Madeleine adding a lot of zest, fun and jazz feel in her contributions....”

Thursday, May 23, 2013

Brass Shout


© -Steven Cerra, copyright protected; all rights reserved.


The Mosiac Records boxed set  - The Complete Argo/Mercury Art Farmer/Benny Golson Jazztet Sessions [MD7-225] - brought me back in touch with one of my all-time favorite recordings - the Argo LP Meet The Jazztet [664].

The period from 1945-1965 were exciting days for Jazz when combos seemed to form and reform on a regular basis and the Jazztet was one of the best groups to come around in quite some time [at least as far as my ears were concerned].

The original Jazztet was made up of Art Farmer, trumpet, Curtis Fuller, trombone, Benny Golson, tenor saxophone, McCoy Tyner, piano, Addison Farmer, bass and Lex Humphries, drums.

What really appealed to me about the Jazztet was the writing and arranging skills of Benny Golson who has composed so many memorable tunes over the years, many of which have become Jazz standards [I Remember Clifford, Whisper Not, Along Came Betty, to name but a few].

On Meet The Jazztet Benny was at it again with intriguing original compositions including Killer Joe, Blues March, and Park Avenue Petite, the latter a lovely ballad favored by many Jazz trumpeters as a vehicle for demonstrating the richness of their tone on the instrument.

According to Lawrence Koch in The New Grove Dictionary of Jazz: “The group made six albums, most of which included compositions and arrangements by Benny Golson and one which consisted of the John Lewis. Although the arranged sections of the music were important to the group’s style, there was ample opportunity for solo improvisations, and this dichotomy resulted in balanced, interesting performances. The group disbanded in 1962 ….”


Around the same time that I was “meeting” the Jazztet, a friend, who was a trumpet player and who really favored Art Farmer’s style, loaned me a United Artist vinyl entitled Art Farmer: Brass Shout [UAL 4047]. The cover art contained this striking Hugo Bell photography with a design rendered by the Stephen Haas Studios.

What was especially delightful to me was that all of the tunes on the album were arranged, orchestrated and conducted by Benny Golson, including his intriguing original composition Minor Vamp.

I say “intriguing” because I’ve always been especially attracted to Jazz when its played in a minor key. To paraphrase Ted Gioia: “Benny Golson’s best work manages to convey both elegance and a subtle funkiness.” [The Jazz Standards, p.459] Perhaps it easier for this funkiness to manifest itself in minor keyes?

The album was subtitled seven moods in brass and Blanchard King explained the conceptual background for the recording and how the personnel of “The Art Farmer Tentet” were employed on each track in these excerpts from the original liner notes.

“Through the years, music lovers have had ample opportunity to thrill to the sombrely paced beauty of a Gabrieli brass work; to the roaring coda of a Sousa march; or to the shocking effect of massed brass in the compositions of William Shumann and Shostakovich. But, the lover of good music is rarely exposed to the many moods which dynamic and imaginative arrangements can evince from the basic jazz brass ensemble augmented with so-called miscellaneous instruments (so far as jazz is concerned) such as French horn, tuba, and baritone horn.

The seven moods of this album range from the Latin feeling of Nica's Dream to an almost Sibelian aura on Stella By Starlight, each score filled with a varying degree of shouting brass intensity. Brass Shout represents a seemingly successful attempt to bring the listener a diversified presentation of eight great jazz brass instrumentalists bulwarked by one of the most formidable rhythm sections, a presentation manifesting careful arranging, orchestration, and discipline, but preserving the basic freedom and flair of an inspired jazz performance.

Utilizing the haunting, pale tones of the French horn and the deep voice of the tuba (as a melodic rather than rhythmic device), arranger Benny Golson was able to add a new dimension of sound and a new agility to the basic trumpet-trombone voicing usual in jazz works. Julius Watkins and Don Butterfield represent the top of the mark in jazz virtuosity on French horn and tuba, respectively; Watkins playing highly articulate solos on the most difficult brass instrument, and Butterfield supplying a loosely muscled bottom sound with none of the gusty, gravelly tone of other would-be tuba stars.

Each participating artist was chosen with great care and with a definite function in mind. The solemn, intense musicianship of Art Farmer looms large in this album, in fact Golson would not undertake the project until completely assured that Art was available and willing to appear on the date.

The maturity, profound conception, and artistry increasingly associated with Farmer's work is well documented herein by a lilting, building improvisation on Nica's Dream, a moody; austerely beautiful handling of April In Paris; and tightly muted drive on Golson's classic Five Spot After Dark. Ernie Royal and Lee Morgan complete a stellar trumpet section. Royal of course can do anything on the trumpet, considered by many to be the best lead man in the business. Although chosen to act as straight-man for the section, Ernie contributes a very "down," grooving solo on Autumn Leaves; as well as marvellous lead work throughout the album. Lee Morgan was chosen for his fire. A competitor for the laurels once worn by the late Clifford Brown, Morgan is today's greatest threat to established trumpet ranks. Possessing superlative range and technique, endowed with a vivid, even prankish imagination, able to perform with the stamina of a 1st chair trumpeter, Lee needs only further development of his ballad style to insure enshrinement as one of the all time great brassmen.


The trombone section is an ideal blend of strong technical and improvisational skills. Curtis Fuller, newly crowned winner of the 1959 Down Beat Critics Poll-New Star category, plays with warm humor, big tone, and rough hewn "soul".

Constantly increasing his musical abilities, gaining stature as a composer of merit, Curtis is more than fulfilling the great promise he showed as long ago as 1955. Curtis, a hard swinger in the East Coast tradition, can be heard to fullest advantage on his new United Artists Album, Sliding Easy (Catalogue No. UAL 4041-Monaural; UAS 5041-Stereo) along with Lee Morgan.

Jimmy Cleveland was a phenomenon when I heard him in Nashville, Tennessee in 1948, where he was attending Tennessee State College. Both Diz and Hamp were extending him offers to join their bands every time they played Nashville, but Cleve stayed on to finish college. Now he is one of New York's most sought after studio musicians due to consistently high solo quality, keynoted by extremely wide range and the ability to "cut" any "chart", no matter how difficult.

Wayne Andre, a young professional, highly recommended by the 'ace musicians' contractor Chet Amsterdam, is known for his flawless performances in ensemble or as a one man section. In order to broaden and deepen the sound of the trombone section and to create the most effective blend with French horn and tuba, Golson wrote in a part for baritone horn on several selections: Minor Vamp, Moanin', Five Spot After Dark, and April in Paris. James Haughton, coming to jazz from the marching band tradition, performs robustly on that horn.

The rhythm section includes Percy Heath, the much acclaimed bassist with the Modem Jazz Quartet, and a brace of fabulously articulate drummers: Philly Joe Jones and Elvin Jones. (Elvin is heard on Autumn Leaves, Stella By Starlight, and Nica's Dream). Also, pianist Bobby Timmons plays a rollicking solo on his composition, Moanin', the album's only track with piano.

Any survey of jazz history will reveal the extraordinary importance of brassmen, particularly trumpeters and cornetists, in the evolution of the music. …

Brass Shout is a further realization of the great arranging skill of Benny Golson, who is certainly the outstanding jazz arranger of 1959.

In jazz review columns, Golson's rising importance as a source of original tenor sax improvisations is being constantly discussed. It seems fitting that he should lend his mellow, sometimes searing, comfortably traditional yet dramatically modem, but always exciting stylings to these arrangements. Herein are heard all of the Golson trade marks: the use of wind instruments instead of piano to "comp" behind soloists; thick, meaty textures exploiting the middle and lower ranges of ensembles; smoky atmospheres from which improvisations emerge and take form; special quiet effects utilizing a variety of mutes; and a pervasive feeling of concealed, coiled power and earthiness.

In the words of the arranger: ‘I tried to get a round, full sound out of the horns, instead of the usual brassy blare, employing very close voicings for warmth and togetherness; and dissonances for brilliance and freshness.’ His seven scores fit the multiple talents of an outstanding brass ensemble like fine gloves.”

In the November 26, 1959 edition of Down Beat magazine, Ralph J. Gleason gave Brass Shout a rating of **** ½ stars.

“The only reason that this LP does not draw * * * * * is that this reviewer would like to make that classification a little harder to achieve. It is certainly a better album than many that have been given ***** on these pages; it has class, order, a high degree of musicianship, and thoroughly moving solos. It is an excellent example of good work that is only a slight degree removed from being a major effort.

Golson rapidly is assuming his place as one of the most dexterous composers in jazz today. He has a remarkable gift for ordering the talents of others into composite works of his own. His settings for the appearances of Farmer and the other soloists in this excursion into brass textures are deftly handled, yet are not superficial; Golson has his roots where roots ought to be all along. As a writer of jazz tunes, his compositions, such as Minor Vamp, are almost all touched with the quality that lasts.

As a trumpet soloist, Farmer is about the most consistently effective man of his generation. He has a highly developed sense of taste that makes him, in a way, a sort of Hank Jones of the trumpet. On records he is a trifle more inhibited than in person, and the overwhelming gravity of his appearance seems to creep through somehow.

The rhythm section consistently swings beautifully on this LP, and the ballad interpretations are absolutely lovely.

- Ralph J. Gleason”


The editorial staff at JazzProfiles has been looking for a musical vehicle to pair with the art of Léon Samoilovitch Bakst [Лео́н Никола́евич Бакст 1866-1924] a Russian painter and scene, and costume designer. He was a member of the Sergei Diaghilev circle and the Ballets Russes, for which he designed exotic, richly coloured sets and costumes.

With the help of the ace graphics team at CerraJazz LTD and the production facilities at StudioCerra we thought that the merging of Minor Vamp with a video montage of Bakst’s work might achieve such a goal in a satisfactory manner.

See what you think.

The solos are by Curtis Fuller on trombone, James Haughton on baritone horn and Lee Morgan on trumpet. [Click on the “X” to close out of the ads.]