In April 1960, organist Jimmy Smith joined forces with tenor saxophonist Stanley Turrentine and recorded Back at the Chicken Shack for Blue Note. One of the tracks was When I Grow Too Old to Dream, by Oscar Hammerstein II and Sigmund Romberg. The song was introduced in the film The Night Is Young (1935) and was given a gospel-soul shove on the 1963 album by Smith, Turrentine and Donald Bailey on drums. (Guitarist Kenny Burrell appears on two tracks but not this one.)
The tension between Smith's full feel on the Hammond organ and Turrentine's bossy saxophone is pure perfection.
Here's When I Grow Too Old to Dream without ad interruptions...
Other Perfection tracks in this ongoing series...
Paul Desmond and Jim Hall: Any Other Time,go here.
By the late 1960s, a growing number of jazz singers and musicians had tabled the American songbook and were digging into new standards by the decade's contemporary pop composers. They had to if they wanted to attract younger audiences. This was especially true while performing abroad. [Photo above of Sarah Vaughan in Stockholm in 1967, courtesy of YouTube]
On October 31, 1967, Sarah Vaughan was at Stockholm's Gothenburg Concert Hall, with Bob James on piano, Herb Mickman on bass and Omar Clay on drums.
Here's Sassy singing Come Back to Me, What the World Needs Now Is Love, The Shadow of Your Smile, Day in Day Out, The Boy From Ipanema, What Now My Love and I Had a Ball...
In 2012, jazz-pop guitarist, whistler and harmonicist Toots Thielemans turned 90. On May 17 of that year, he performed a concert at Le Chapiteau, the opera house in Liège, Belgium. The performance was taped for release as a live album.
The rhythm section featured Toots Thielemans (harmonica), Karel Boehlee (piano and synthesizer), Hein van de Geyn (bass) and Hans van Oosterhout (drums), with special guests Kenny Werner (piano) and Trijntje Oosterhuis (vocals).
I'm big on sensitivity, so right off the bat vocalist Diana Panton had me with the first notes of her new album—Soft Winds and Roses (SRG). Her last recording, Blue (2022), was a mood work reflecting hard emotional times. On this one, the songs chosen have a gentle, talcum-soft feel that exposes her cheery side. Back with Diana is her equally sensitive duo: Reg Schwager on guitar and Don Thompson on piano, vibes and bass.
What I also love about Diana's voice is how moved she is about music and that she clearly passes into a zone when singing. I know because I wind up there myself when I'm writing. I don't hear anything or see anything, and hours can pass as if the time elapsed had just been minutes. When Diana sings, she's swept up by her focus and artistic expression, and nothing else matters. [Photo above of Diana Panton]
Best of all, there's a tenderness about her phrasing, a child-like innocence and wonderment about the world around her. It's her delight with simplicity and little things that enrich her approach. You're pulled in because her bewilderment feels so familiar. [Photo above of Don Thompson]
I must say, I took a minute when I saw her song list on the jacket. I wasn't quite following the connection between the 14 tracks or why You and I was sharing space with How Deep Is Your Love. Only when I listened to the album did I understand what Diana was striving to accomplish: All are tender, precious songs about love that could easily have been sung whispered. [Photo above of Reg Schwager]
The tracks:
Your Song (Elton John/Bernie Taupin)
(They Long to Be) Close to You (Burt Bacharach/Hal David)
Secret Heart (Ronald Eldon Sexsmith)
Sweet Happy Life (Luiz Bonfa/Norman Gimbel/Antonio Maria)
A Wish (Valentine) (Fred Hersch/Norma Winstone)
How Deep Is Your Love (Barry, Maurice and Robin Gibb)
Pussywillows, Cat-Tails (Gordon Lightfoot)
Here, There and Everywhere (John Lennon/Paul McCartney)
You and I (Norman Gimbel/Vinicius de Moraes/Carlos Lyra)
And I Love You So (Don McLean)
Until It's Time for You to Go (Buffy Sainte-Marie)
Hey, That's No Way to Say Goodbye (Leonard Cohen)
Snow (Randy Newman)
Both Sides Now (Joni Mitchell)
It's refreshing to hear these songs through Diana's perspective. Bernie Taupin's Your Song lyrics in Elton John's hands have a deliberate cockiness but with Diana, it's as if she's singing to a child. The same is true of all these songs, and the approach gives them a new personality and meaning. Gorgeous accompaniment by Don and Reg.
On Soft Winds and Roses, Diana, a two-time Juno winner in Canada, returns to a romantic style that captivates and intoxicates. With her voice, love is hopeful if you wish it so.
JazzWax tracks: Diana Panton's Soft Winds and Roses (SRG) can be heard on major streaming platforms or purchasedhere.
For The Wall Street Journal last week, I interviewed the Queen of Country, Reba McEntire, for my House Call column in the Mansion section (go here). Reba is one of the hardest working women in show business today. In addition to recording and performing, she's a coach on TV's The Voice and stars in a new NBC sitcom, Happy's Place. Reba's work ethic began at age 5, hen she worked on the famiy's cattle ranch in Chockie, Okla. Spending time with her, I found her remarkably down to earth, lovely and open. [Photo above of Reba McEntire couresty of NBC]
Also in the WSJthis week, my monthly Album@50 column for Arts in Review was on Suzi Quatro's Quatro album, released 50 years ago this month (go here). The album changed music history. As I wrote in the essay, the album and her tour with Alice Cooper left the jaws of female wannabe rock stars on the floor. [Photo above of Suzi Quatro courtesy of IMDb]
Suzi’s accomplishments were significant. She was the first woman in the 1970s to front a hard-rock band, play an instrument, sing lead, compose and gain international acclaim. In other words, she kicked down doors and women in the wings rushed through. The list includes Joan Jett, the Runaways, Heart’s Ann and Nancy Wilson, Blondie’s Debbie Harry, the Pretenders’ Chrissie Hynde, and bassists Tina Weymouth of Talking Heads and Kathy Valentine of the Go-Go’s.
Oh, one more thing. The Rock and Roll Hall of Fame doesn't seem to think much of women in rock. She still hasn't been inducted.
Here's Suzi at the dawn of hard rock, in 1973, singing 48 Crash...
What I'm Watching Now
My favorite streaming TV series, ranked...
Babylon Berlin
My Brilliant Friend
Killing Eve
The Crown
The Americans
Band of Brothers
Landman
Feud: Bette and Joan
Downton Abbey
The Blacklist
Goliath
The Gentlemen
Turn: Washington's Spies
Unbelievable
Justified
Lincoln Lawyer
Voiceless (Bella da morire (2020/MHz)
Just viewed and highly recommended...
The Blacklist (2013-2023)—I'm up to Season 5 out of 10 and still hooked on this spy-thriller series. James Spader is fantastic as the man who knows where the bad guys are and, in action-packed scenes, does away with them with an FBI task force. Lots of other subplots going on throughout. An attention-holder. (Netflix)
Feud: Capote Vs. The Swans—(2024/FX, with streaming on Hulu)
Fisk—(2021/Netflix)
The Gentlemen—(2024/Netflix)
Godless—(2017/Netflix)
Goliath—(2016-2021/Prime)
The Gilded Age—(current/Max)
High Water—(2022/Netflix)
Homeland—(2011-2020/Showtime)
Jane Eyre—(2006/Britbox)
Justified—(2010-2015/Hulu)
Killing Eve—(2018-2022/Netflix)
Life & Beth—(Seasons 1& 2, 2022-present/Hulu)
Lincoln Lawyer—(2022-present/Netflix)
Loudermilk—(2017-2020/Netflix)
MI-5, the Series—(2002-2011/BritBox)
Monsieur Spade—(2024/AMC)
Murdaugh Murders: The Movie, Parts 1 and 2—(2023/Lifetime)
My Brilliant Friend—(2018-current)
1923—(2022-present/Paramount+)
1883—(2021-2022/Prime)
Outlander—(2014-present/Netflix)
Pieces of Her—(2022/Netflix)
Poldark—(2015-2019/Prime)
Reacher—(2016-present/Netflix)
Ripley—(2024/Netflix)
Scott & Bailey (2011-2016/Prime)
Turn: Washington's Spies—(2014-2017/Prime)
Unbelievable—(2019/Netflix)
Under the Banner of Heave—(2022/Hulu)
Veronica Mars—(2004 to 2019/Hulu)
Voiceless (Bella da morire—(2020/MHz)
The Watcher—(2022/Netflix)
The Way Home—(2023-current/Peacock)
Who Is Erin Carter—(2023/Netflix)
The Woman in the Wall—(2024/Showtime)
The Veil—(2024/Hulu-FX)
Wilder—(2017-current)
WPC 56—(2013-2015/Britbox)
Yellowstone—(2018-present/Paramount Network)
Films
The Accountant—(2016/Hulu)
American Gangster—(2007/Max)
Armageddon Time—(2022/Prime)
The Ballad of Buster Scruggs—(2018/Netflix)
The Ballad of Lefty Brown—(2017/Netflix)
Blackout (2022/Netflix)
TheBricklayer—(2024/Netflix)
The Commuter (2018/Netflix)
The Dig—(2021/Netflix)
Eiffel—(2021/Prime)
Enola Holmes 1 and 2—(2022/Netflix)
The Equalizer 1, 2 and 3—(2014-2024/Prime)
The Great Lillian Hall—(2024/Max)
Fury—(2014/Netflix)
God's Country—(2022/Hulu)
Guy Ritchie's The Covenant—(2023/Prime)
Jack Reacher (the movie)—(2012/Paramount+)
Kill Chain—(2019/Max)
Knight and Day—(2010/Roku)
Last Night in Soho—(2021/Prime)
Last Seen Alive—(2020/Netflix)
The Little Things—(2021/Netflix)
Lonely Planet—(2024)/Netflix)
Man on Fire—(2004/Max)
Manchester by the Sea—(2016/Prime Video)
MI-5—(2015/Max)
The Mule—(2018/Netflix)
The Night Agent—(2023/Netflix)
Nobody—(2021/Prime)
Nobody Wants This—(2024/Netflix)
Ordinary Angels—(2024)
Purple Hearts—(2022/Netflix)
The Queen's Gambit—(2020/Netflix)
Queenpins—(2021/Pluto TV)
Reptile—(2023/Netflix)
Ruthless—(2023/Hulu)
The Secret: Dare to Dream—(2020/Netflix)
Self Reliance—(2023/Hulu)
Seraphim Falls—(2006/Netflix)
Some Girl(s)—(2013/Amazon Prime)
Somewhere in Queens—(2022/Hulu)
The Spy—(2019/Netflix)
Spy(ies)—(2009/Prime)
The Stranger—(2022/Netflix)
Toscana—(2022/Netflix)
The Two Popes—(2019/Netflix)
Up in the Air—(2009/Max)
Wonder Wheel—(2017/Prime)
Documentaries
Aftershock: Everest and the Nepal Earthquake—(2022/Netflix)
The Beach Boys—(2024/Disney)
Carole King: Live in Central Park—(2023/PBS)
The Comeback—(2005 and 2014/Max)
Cunk on Earth—(2022/Netflix)
Cyndi Lauper: Let the Canary Sing—(2023/Paramount+)
Facing Nolan—(2022/Netflix)
Five Came Back—(2017/Netflix)
Jane Fonda in Five Acts—(2024/Max)
Kate Hepburn: Call Me Kate—(2023/Netflix)
Suzi Q: Suzi Quatro—(2019/Prime)
The Volcano: Rescue from Whakaari—(2022/Netflix)
'Tis Autumn: The Search for Jackie Paris—(2007/go here
Dionne Warwick. Found this clip last week. Still priceless...
Matthew Gee.Following my posts last week on trombonist Matthew Gee (here and here), I heard from vocalist Giacomo Gates, who sent along this clip of Eddie Jefferson's vocalese recording of Matthew Gee's composition Oh Gee!...
Reggie Workman is probably best known for his bass playing with Art Blakey and the Jazz Messengers and the John Coltrane Quartet. Reggie is still performing, and now he, along with a team of young filmmakers and his daughter, are making a documentary about his life and contribution to jazz. Wynton Marsalis is the executive producer. But they need funds to complete the final interviews and take the results into post production. [Photo above of Reggie Workman by Anthony Dean]
You can learn more about the project and watch a trailer at Indiegogo by going here.
Here's Reggie with Art Blakey and the Jazz Messengers in 1964 playing Clare Fischer's Pensativa...
Jazz art. A new site, The Jazz Dive, was just launched and features jazz-inspired art. Founder Allen Mezquida is the artist and an alto saxophonist who has played with Dizzy Gillespie, Gerry Mulligan and Brad Mehldau. To view the site's art, go here. [Art above of bassist Eugene Wright by Allen Mezquida]
Righteous Rooster—Fowl Play (Shifting Paradigm). This very groovy Chicago organ trio combines the rich, wide sound of a Hammond from a 1960s Prestige session with more contemporary drums and guitar. The musicians are Henry Dickhoff on organ, Kenny Reichert on guitar and Luke Sagadin on drums. All six tracks are band originals and happening, and these guys clearly have spent some serious quality time listening to Don Patterson and Larry Young records. One of the best organ trio albums of the year. Can't get enough of it. To buy, go here.
Don Messina and Rich Peare—Blues for Peter (New Artists). I last posted on bassist Don Messina in 2002 (go here). Don was a member of the Larry Bluth Trio. On this newly released album recorded in 2020, Don was paired with Rich Peare on classical guitar. The Peter in the album's title is guitarist Peter Prisco, with whom Rich studied guitar for years. The two terrific players here work though five standards and two originals. What I love about this album is that both Don and Rich are fully exposed and can't run for cover. They must fill the space with grace and improvisation while working together. The bass-guitar duo format is among the most difficult because stringed instruments can cover only so much sonic ground. In the case of these two, however, the results are exceptional and Tristano-like in delivery. As Don notes about Rich's playing style: "Rich plucks like he is playing Bach. No pick." To buy, go here. To listen, visit any major streaming platform.
Irakli Louis Ambassadors—Smatcho (Market). In 2021, I posted about Alain Marquet's Jazz Museum in Paris. The friendly place is really a store with a lot of great jazz memorabilia and super-rare albums and 78s. In September, my Parisian friend, Gilles, went to see Alain near Sacré-Cœur, as he regularly does, and they sent me a lovely note and gift: this album. The recording features Irakli de Davrichewy on trumpet, Jean-Claude Onesta on trombone, Alain Marquet on clarinet, Jacques Schneck on piano, Philippe Pletan on bass and Sylvain Glevarec on drums. It's a lovely tribute to Louis Armstrong with all the heart and joy you'd expect from six top French jazz musicians who play together for fun. Dig Alain's warm clarinet! For more information on how to buy this rarity, email Alain in Paris: [email protected].
Kristin Korb—Sweet Dreams (Giant Sheep). Denmark's Kristin Korb plays bass and sings beautifully. She also isn't afraid to re-interpret contemporary pop songs. On Sweet Dreams, she boldly turns 10 Eurythmics songs into jazz gems. The playlist includes the title track, Sisters Are Doin' It for Themselves and I Saved the World Today. Kristin is also blessed with great sidemen: Magnus Hjorth on piano, Snorre Kirk on drums, Mathias Heise on harmonica, Karl-Martin Almqvist on saxophone, Steen Nikolaj Hansen on trombone and Yohan Ramon on percussion. Each song is transformed and elevated to something more interesting than the original. Neil Young's Don't Let It Bring You Down and Jackie DeShannon's Put a Little Love in Your Heart are here, too. Kudos to Kristin for taking on these songs, re-imagining them and creating a smart listen. To buy, go here.
Houston Person radio. On Sunday, Sid Gribetz will host a Jazz Profiles show on tenor saxophonist Houston Person, from 2 to 7 p.m. (ET) on WKCR-FM in New York. To listen in from anywhere in the world, go here.
Clifford Brown radio. On Oct. 30, WKCR-FM in New York will present its annual “Clifford Brown Birthday Broadcast,” playing the music of the trumpeter for 24 hours starting at 11:59 p.m. on Oct. 29. To listen from anywhere in the world, go here.
And finally,here's 15 minutes of a terrific doo-wop radio show...
Multi-tracking has a long history. One artist who pioneered the form—recording a main part and then slipping on headphones and recording additional harmony parts—was tenor saxophonist Zoot Sims. For more on this, see my 2018 post.
One superb early example of this process is Zoot Sims Plays 4 Altos. Recorded in January 1957 for producer Creed Taylor at ABC Paramount, Sims was backed by George Handy (p), Nabil "Knobby" Totah (b) and Nick Stabulas (d). All four alto saxophones you hear were recorded by Sims, and all of the songs were composed and arranged by Handy.
Here'sZoot Sims Plays 4 Altos without ad interruptions...
Want the album? You'll find it at Fresh Sound here.
Earlier this week, I posted on trombonist Michael Gee. Throughout his career, Gee would record with tenor saxophonist Johnny Griffin. Their first union came in 1948, while in the Joe Morris Orchestra. A year later, they were together on Wynonie Harris's famed proto-rock 'n' roll hit Drinkin' Wine, Spo-Dee-o-Dee. In 1960, Gee was in Griffin's band, for the recording of The Big Soul-Band for Riverside.
Then in 1963, they recorded together again, and both received top billing on an album that Bill Kirchner reminded of last week. It's Soul Groove, for Atlantic, with Matthew Gee (tb), Johnny Griffin (ts), Hank Jones (p,org) or Big John Patton (org), Aaron Bell (b,tu), Art Taylor (d) and Carlos "Patato" Valdes (cga,bgo).
One of the album's best songs is Gee's composition Here, but I'm going to throw in three more:.
Here's Gee's composition Here, with Hank Jones on organ...
And here's Lou Donaldson's At Sundown, with Hank Jones on piano...
Another? Here's Gee's Twist City, with Big John Patton on organ...
Last one: Here's Gee's Renee, with Patton on organ...
In October 1957, Nat King Cole turned his Nat King Cole Show over to Norman Granz's Jazz at the Philharmonic. It was the first time that the touring JATP showcase and jam session format was seen live on TV in living rooms around the country. [Photo above of Nat King Cole]
Last week, Mark Rabin noticed that a new, clear print of the full NBC episode was available at YouTube. In its entirety, you'll see the full half hour with Flip Phillips, Jo Jones, Roy Eldridge, Coleman Hawkins, Oscar Peterson, Illinois Jacquet, Ray Brown, Stan Getz, Herb Ellis and others.
Music from back in the day, when jazz was considered remarkable and you didn't get to be on television unless you were exceptional. Even more important, in the year of the Civil Rights Act of 1957, the Little Rock Nine and increasing racial tensions, the nation through the show was exposed to highly skilled black and white artists collaborating on an equal level to bring joy into viewers' homes.
Viewers also were given a more complete picture of how special these musicians were, regardless of race. The interracial nature of the show and the fact that it was being broadcast in segregated cities are most likely the reasons why there wasn't a major consumer-goods sponsor advertising.
Trombonist Matthew Gee was a sideman on a couple of dozen recording sessions but only one as a leader—Jazz by Gee, for Riverside, in July and August 1956. Between 1946 and 1975, Gee recorded with Gene Ammons, Erskine Hawkins, Sonny Stitt, Count Basie, Coleman Hawkins, Nat Pierce, Dizzy Gillespie, Johnny Griffin, Archie Shepp and many others. And yet, he made just one album under his own name. A terrible oversight by record labels at the time.
Today, Gee is barely known. As a sideman, his trombone was an ingredient in other artists' creations, so he never became a household name. What's interesting about his trombone is that he played with a zesty bark. A bebopper, Gee was able to push a rich sound through his horn and keep his improvisation bouncy and dance-like.
Now, Fresh Sound has released Jazz by Gee!: Matthew Gee All Stars that includes Gee's sole leadership album as well as sideman recordings leading up to that session. The bonus tracks are Gee with three different ensemble, led by Lou Donaldson, Illinois Jacquet and Joe Newman. Of particular note about Jazz by Gee! are Gee's sidemen on the two leadership sessions. They were indeed all-stars:
On the July 19, 1956 session: Kenny Dorham (tp), Matthew Gee (tb), Frank Foster (ts), Cecil Payne (bar), Joe Knight (p), John Simmons (b) and Art Taylor (d).
Gee!
Kingston Lounge
The Boys From Brooklyn
On the August 22, 1956 session: Matthew Gee (tb), Ernie Henry (as), Joe Knight (p), Wilbur Ware (b) and Art Taylor (d).
Out of Nowhere
I'll Remember April
Joram
Sweet Georgia Brown
Lover Man
Interestingly, Gee (above) was a nifty composer. The three tracks recorded in July are his. On these, we have terrific solos by Dorham, Foster, Payne, Knight and Gee. Knight was a glorious player and can only be heard on one other album: Bennie Green's Back on the Scene, recorded in 1958.
The August session's treat is Ernie Henry, an alto saxophonist with a bright sound. Henry and Gee sound so good together one wonders why they weren't recorded on a few more LPs. Knight is back, along with Taylor's wailing on drums. We also get to hear Ware up front and close..
The bonus tracks include plenty of surprises as well.
With Illinois Jacquet and His Orchestra in December 1953, Gee and the band play On Your Toes, taken at a breakneck pace. The band featured Russell Jacquet (tp), Matthew Gee (tb), Illinois Jacquet (ts), Cecil Payne (bar), Johnny Acea (p), Al Lucas (b) and Shadow Wilson (d).
On Moe's Bluff, a Lou Donaldson date in August 1954, we hear some early hard bop, with Dorham, Donaldson and Gee in the front line, and Elmo Hope, Percy Heath and Art Blakey bringing up the rear.
Gee is with the Joe Newman Septet in March 1956. On Close Quarters, we have Joe Newman (tp), Matthew Gee (tb), Frank Wess (fl,ts), Frank Foster (ts), Johnny Acea (p), Eddie Jones (b) and Osie Johnson (d). Dig Gee's solo on this one!
Matthew Gee died in 1979.
JazzWax tracks: You'll find Jazz by Gee!: Matthew Gee All Stars (Fresh Sound) here. Don't forget to use the 8% discount code: JAZZWAX_DISCOUNT
To the best of my knowledge, only two musicians formed jazz orchestras they labeled a "dream band." One was trumpeter Maynard Ferguson on the East Coast at Birdland in 1956 and the other was vibraphonist Terry Gibbs on the West Coast at Hollywood clubs from 1958 to 1959. Actually, dream band would be an understatement.
The musicians and soloists were the hottest sight-readers on the two scenes, and the arrangers were top swingers. If pressed on picking a favorite, I'd have to go with Terry, adding the word "killer" in front of his dream band.
In celebration of Terry's 100th birthday on October 13, Whaling City Sound has mastered and released another one of Terry's private recordings of his 16-piece adventure: Terry Gibbs: Dream Band Vol. 7: The Lost Tapes, 1959. [Photo above of Terry Gibbs by (c)Ray Avery, courtesy of CTSImages]
Volumes 1 through 5 of Terry's Dream Band series were initially released between 1986 and 1991. Volume 6 came out in 2002, at which point the Gibbs family thought they had exhausted the gold mine. Not so.
While Terry was recently exploring his son's computerized archive, he found a new entry. The album of new material features the band playing live in Hollywood at the Seville Club in March 1959 and at the Sundown Club that November. See what happens, Gerry, when dad has time to roam around on the computer?
And what a Los Angeles band it was. Here's the lineup in March: Al Porcino, Ray Triscari, Conte Candoli and Stu Williamson (tp); Bob Enevoldsen, Vern Friley and Joe Cadena (tb); Joe Maini and Charlie Kennedy (as); Bill Holman and Med Flory (ts); Jack Schwartz (bar); Pete Jolly (p); Terry Gibbs (vib,ldr); Max Bennett (b) and Mel Lewis (d), plus arrangers Marty Paich, Manny Albam, Sy Johnson, Al Cohn and Bob Brookmeyer.
And here's the band in November: John Audino, Conte Candoli, Frank Huggins and Stu Williamson (tp); Bob Burgess, Vern Friley and Bill Smiley (tb); Joe Maini and Charlie Kennedy (as); Bill Perkins and Med Flory (ts); Jack Schwartz (bar); Terry Gibbs (vib,ldr); Lou Levy (p); Buddy Clark (b); Mel Lewis (d) and Bill Holman, Al Cohn, Manny Albam, Lennie Niehaus and Marty Paich (arrangers).
The March 16 tracks, live at the Seville Club in Hollywood:
I'm Getting Sentimental Over You
Opus One
Cottontail
Let's Dance
Flying Home
The March 17 track, live at the Seville Club in Hollywood:
Bright Eyes
The November 1, 2, 8 and 9 tracks, live at the Sundown Club in Hollywood:
Begin the Beguine
Back Bay Shuffle
It Might as Well Be Spring
My Reverie
After You've Gone
The Song Is You
Softly, as in a Morning Sunrise
Moonglow
Don't Be That Way
Prelude to a Kiss
Dancing in the Dark
No Heat
Born in Brooklyn, N.Y., Terry came up early with a group of musicians who would become spectacular bop players and leaders, including Chubby Jackson, Tiny Kahn, Al Cohn, Zoot Sims, Don Lamond, Johnny Mandel, Ralph Burns, Earl Swope, Serge Chaloff, Oscar Pettiford and many others from the East Coast. Some of them would wind up in Los Angeles in the 1950s, including Terry, in 1958. [Photo above of Terry Gibbs]
Back in those days, if you were going to call your 16-piece group a "dream band," you had better deliver on the promise. And Terry did, night after night. The only cats who could keep up were giants who lived to play the really wild stuff in all-star big bands. I can't even imagine what it must have been like to sit in the audience and hear such heat.
Today, Terry Gibbs, Sonny Rollins and Roy Haynes are probably the last direct links, participants and eyewitnesses to the great bebop movement of the 1940s. Terry also is the last of the powerhouse jazz-band leaders of the 1950s.
Happy Birthday, Terry!
JazzWax tracks: You'll find Terry Gibbs: Dream Band Vol. 7: The Lost Tapes, 1959 (Whaling City Sound) here. You can also listen to sample tracks at the bottom of the landing page. The CD is out now, digital coming on November 8.
JazzWax clips: Here's Bill Holman's arrangement of his composition Bright Eyes...
Marc Myers writes regularly for The Wall Street Journal and is author of "Anatomy of 55 More Songs," "Anatomy of a Song," "Rock Concert: An Oral History" and "Why Jazz Happened." Founded in 2007, JazzWax has won three Jazz Journalists Association awards.
