COOL AUTOGRAPHS FROM COOL PEOPLE #4-THE PIANO PLAYERS part 1

My idea of the perfect group is the piano trio; piano, bass and drums. I’ve always loved the piano, and will always be there when a great trip is in town.

Barry Harris

Detroit Jazz Festival (2006)

Always been a big fan of Barry Harris. He’s equally esteemed as both an educator and player, having nurtured hundreds of great musicians at home in Detroit, in New York and internationally. I love his records from the late 60’s such as Luminescence!, Bullseye! and Magnificent! (yes the exclamation marks are part of the titles). I’ve recorded one of my favourite Barry Harris compositions Sun Dance with the trio. This particular time I met Mr. Harris was at the Detroit Jazz Festival in 2006. Barry wasn’t playing on this occasion but was walking around the grounds of Hart Plaza when I noticed him meeting and embracing the great Gerald Wilson, whom I had seen perform earlier that day, and Wilson’s wife Josefina. I took a photo as it was something else to see two legends sharing a moment.

Barry Harris with Gerald and Josefina Wilson, two legends. Detroit (2006)

Cedar Walton

Detroit Jazz Festival (2002)

Cedar Walton was playing the 2002 Detroit Jazz Festival as part of a group named Legends of the Bandstand. The group included Louis Hayes, Curtis Fuller, Reggie Workman and David Fathead Newman. I don't normally go in for ‘all-star’-type bands as sometimes just because there’s great names on the marquee, it doesn’t always translate to great music. This was definitely an exception as the band roared out of the gate and through a great set which included Delilah, Arabia and a very soulful feature on Hard Times for Newman. If I remember correctly the set ended with Caravan, and I do recall Louis Hayes playing with fire and creativity, like someone half his age.

Herbie Hancock, Roy Hargrove and Dave Holland

Massey Hall, Toronto (2003)

Massey Hall in Toronto was the site of a historic jazz concert in 1953 featuring Charlie Parker, Dizzy, Max Roach, Bud Powell and Charles Mingus. The record which followed, with all its technical flaws and distribution dramas became steeped in jazz lore. Personally, it’s never been, to me, representative of anything close to the greatest work of any of these masters. But, I don’t say that in public :) It’s just great to know that all of them walked the same steps I walked in Toronto, and that they came together for the only time and it was recorded.

This concert was to celebrate the 50th anniversary of that event, happening exactly 50 years to the day. The band was Dave Holland, Herbie Hancock, Roy Hargrove, Kenny Garrett and Roy Haynes (there are not enough explatives). Among their set they played April in Paris (Kenny Garrett with rhythm if I remember), Night in Tunisia (in 6/4), and a stunning version of In the Still of the Night, my favourite Cole Porter tune, Roy Hargrove featured on that one. The balance of the show was comprised of be-bop standards, but mercifully, none played in a straight jazz-club-jam-night fashion. The music was abstract, and paid homage to the spirit of the music far better than any re-hashing of Bird licks.

After the Quintet played Hot House, Max Roach, by then quite unwell, took the stage to speak and play his famous 'Mr. Hi-hat’ solo. It was the most moving part of the evening, as Max was certainly feeling the effects of Alzheimer’s, although we showed him the respect he deserved as a master of the music. It was Max’s last public performance, and I was lucky enough to be there.

At a panel discussion the day before the concert, there was a meet and greet where I was able to get Herbie, Roy and Dave to sign the playbill (Roy Haynes and Kenny Garrett were not there), and I was quite happy to shake their hands and let them know how much their music, collectively and together has meant to me.

Kenny Barron

Montreal Bistro, Toronto (2003)

Kenny Barron played the terrific Montreal Bistro (now sadly closed) in 2003. Playing with Kenny were two legendary Toronto players, Dave Young on bass and Terry Clarke on drums. Terry Clarke is a huge influence on my playing and I always try to emulate his water-like time feel which seems to drift among the music rather than direct it. The band sounded lush and free, with the Torontonians a perfect match for Kenny’s wistful elegance.

Kenny sat down on the empty stool right next to me after the first set (I went for two evenings) and I asked Mr. Barron for his autograph on a napkin, as I had nothing else handy.

McCoy Tyner

Detroit Jazz Festival (1997)

McCoy Tyner played the Detroit Jazz Festival many times over the years. This time he was playing with an all-star big band. I remember I had seen Roland Hanna before the big band show and was anxiously waiting for Geri Allen later that evening. Anyway McCoy was doing a meet-and-greet and was only signing items purchased from the store. I purchased a second copy of my favourite Coltrane album, the one with Johnny Hartman.

Not the Detroit Jazz Festival performance, but how’s this for an all-star lineup! McCoy Tyner, Steve Turre, Wallace Roney, Donald Harrison, Eric Alexander, Charnett Moffett and the great Eric Gravatt, Toronto 2006.

George Shearing

Orchestra Hall, Detroit (1996)

I’ve always loved the ‘George Shearing Sound’, which is of course based on block chords tightly harmonised, with the vibes doubling the top and guitar doubling the bottom. It’s really a beautiful, unique sound. It was the Quintet’s recording of September in the Rain which made me aware of that beautiful tune, with Marge Hyams’ vibes sounding clear and bell-like and Denzil Best’s sublime brush work. This time Shearing was playing at Orchestra Hall in Detroit. I snuck up the stairway after the show where there were a few others waiting for an autograph. Mr. Shearing’s handler was taking charge, holding George’s hand so he knew where to sign and generally moving people along as quickly as possible. It was great to hear the Shearing Sound reverberate through Orchestra Hall.

COOL AUTOGRAPHS FROM COOL PEOPLE #3-THE HORN PLAYERS

I’m starting to uncover some of the archives I’ve accumulated over the years. Also discovering during my seemingly nomadic life I’ve lost so many rolls of film, showbills and autographs. But I’ve managed to hold on to a few. These are some of the great horn players I’ve had the privilege of meeting.

Sonny Rollins

Orchestra Hall, Detroit (1998)

I’ve seen Sonny Rollins a few times. This particular performance was at Orchestra Hall, a terrific venue to see any performance as the acoustics are stunning. The band for this performance was Stephen Scott on piano, Cliffords Anderson trombone, the great Bob Cranshaw on bass and Perry Wilson drums. There was a percussionist, Victory Yuen who really added beautiful textures. Sonny played songs from Global Warming, which was at the time his latest release. His playing was, of course, virtuosic, stream-of-consciousness at the highest level.

After the show I left, thinking I would take a chance at an autograph. Orchestra Hall is quite cavernous and nearly impossible to approach someone anywhere near the stage. To my surprise, while standing alone outside, Sonny Rollins walked out and approached an awaiting black car. I nervously approached him and asked him to sign the evening’s showbill, which he graciously agreed to do. I told him I loved the show. He asked me what I had liked the best, and if I remember I said I loved Island Lady, and thought his cadenza was the highlight of the night. He said ‘yeah that felt good, thanks for coming out’ and off he went.

Sam Rivers

Markham Jazz Festival, Toronto (2001)

The great Sam Rivers was in Toronto for a gig with the Neufeld-Occhipinti Jazz Orchestra (NOJO) and with a quartet made up of the NOJO rhythm section for 2 nights at the Top O’ the Senator. I caught all shows, and got an autograph at the Markham Jazz Fest. The NOJO big band is a unique, forward-reaching ensemble led by guitarist Michael Occhipinti and pianist Paul Neufeld. I felt the adventurousness of the large group was a perfect fit for the sometimes brittle searching quality of River’s horn. It was a beautiful show, as were the quartet gigs.

Ravi Coltrane

Detroit Jazz Festival (1991)

Ravi Coltrane was performing with the Elvin Jones Jazz Machine at the Detroit Jazz Festival in 1991. I’d waited years to see Elvin, and the group here included the great Sonny Fortune, also on tenor. It was Ravi’s delayed plane en route to the festival which necessitated Elvin playing a solo set before the band hit.

Teddy Edwards

Serengeti Ballroom,Detroit (1998)

The Serengeti Ballroom was an unusual venue on Woodward Ave in a questionable part of Detroit. However, I saw many great shows by Milt Jackson, Sonny Fortune, Cecil Payne and Kirk Lightsey. This show featured Teddy Edwards, a powerful underrated tenor titan who lived in Detroit for a short period of time in his early years. On this gig the great Harold McKinney was on piano.

James Moody

Orchestra Hall (1995)

James Moody was part of a tribute to Milt Jackson at Orchestra Hall in Detroit. My friend and I bravely snuck up the stairs leading to the green rooms after the show and encountered a bubbly James Moody, who proceeded to hug us enthusiastically for having the gumption! Moody then grabbed Milt who warmly shook our hands and gave us an autograph. Quite an evening.

Curtis Fuller

Detroit Jazz Festival (1998)

Curtis Fuller was in town appearing in a sextet with Marcus Belgrave, Charles McPherson, Barry Harris, Louis Hayes and Robert Hurst. Wow. I’d posted a picture of that group in the description for my Louis Hayes autograph in an earlier post.

Kenny Garrett

Detroit Jazz Festival (1997)

Kenny Garrett arriving for his set at the Toronto Jazz Festival, 1997

Kenny Garrett lit up the Toronto Jazz Festival in a brilliant show with Doug Dezron on bass, Joe Farnsworth drums, William Henderson on piano and the great Pharoah Sanders on tenor. The music was wild and inventive, with Farnsworth’s extended solo a highlight of the evening.

My blurry 2006 mobile phone shot of Pharoah Sanders, Doug Dezron and Kenny Garrett Toronto, 2006

Doc Cheatham

Windsor Jazz Festival (1995)

Doc Cheatham was celebrating his 90th birthday (which was in 4 days) at the Windsor Jazz Festival in 1995. Playing with him were Detroit legends Jim Dapogny on piano, Paul Keller bass and Pete Siers on drums. It was a great show which I reviewed for the local musician’s union newsletter. And to our great pleasure Marcus Belgrave sat in and played much of the evening.

Doc Cheatham with Marcus Belgrave, Paul Keller and Pete Siers. Jim Dapogny not visible on piano.

Nicolas Payton

Jazz Showcase, Chicago (2005)

I was in Chicago for a work conference with my good friend Rob. We managed to take in this great show at the Jazz Standard. I remember Marcus Gilmore was on drums. There’s something quite unique about Chicago. Much like Detroit they appreciate the music and it shows. My mom was born in Chicago, and I’m pretty sure she was there with us digging Nicolas Payton.

The late-great Joe Segal introducing the Nicolas Payton group.

Nicolas Payton, Jazz Showcase Chicago (2005)

Terence Blanchard and Ed Love

Detroit Jazz Festival (1999)

I’m actually not sure of the year here. I put 1999, but I actually think it might have been earlier. Anyways, I do remember the show as a ripper. Plus, I got to meed the great Detroit DJ Ed Love, who’s Destination Jazz show I had been listening to for many years.

Branford Marsalis

Chene Park Detroit (1991)

Chene park is a quirky venue on the Detroit River. Essentially it’s a big tent with a stage. I saw Miles and Branford Marsalis months apart, so it hosted some damn good music. This band was touring after Crazy People Music, and had the devastating band with Kenny Kirkland, Robert Hurst and Jeff Tain Watts. This show was really a turning point for me as I had not heard music of this intensity and beauty so closely. I sat right next to the stage and breathed it in all evening. I managed to get Branford and Tain’s autographs on the back of my 60’s band’s business cards (the same cards which Elvin Jones and Ravi Coltrane signed). I’ll never forget the power and beauty of this show.

Jeff ‘Tain’ Watts, Chene Park Detroit (1991)

Houston Person and Joey DeFrancesco

Detroit Jazz Festival (1999)

Another great show at the Detroit Jazz Festival. The ‘99 Festival was a particularly stellar roster of jazz greats. I saw Tommy Flannigan, Yusef Lateef, Elvin Jones and Dave Brubeck among others I can’t remember. Being a great fan of the organ trio I was first in line to see the great Houston Person with Joey Defrancesco. I remember they played Blue Moon, a favourite of mine and many other grooving, swinging pieces. If I remember it was Byron Landham on drums, a great swinging shuffle-master drummer, whos feel I have always loved.

COOL AUTOGRAPHS FROM COOL PEOPLE #2 THE BAND

Most of the autographs I’ve collected are individuals. Occasionally I’ve been able to gather the scribbles of an entire group. Usually my inherent shyness and need to ‘get-in and get-out’ means that I withdraw graciously before I think I’m being a pest. But, occasionally an opportunity presented itself, or frankly I just couldn’t help it.

Johnny Griffin Quartet

Bird of Paradise, Ann Arbor (1998)

The Bird of Paradise in Ann Arbor had long been one of the best live music rooms in Michigan. On this particular evening in 1998 I was there to see the Johnny Griffin Quartet. With him were John Webber on bass, Michael Weiss piano and a drummer I was just beginning to explore, Kenny Washington. Having done quite a bit more research and listening since then I understand how Kenny continues the lineage of Jo Jones, Kenny Clarke, Philly Joe, Joe Chambers and Specs Wright. At this time I was deeply into an album by Larry Willis called Just In Time (Steeplechase), still one of my all-time favourites. Kenny was magnificent on that, his time, touch and inventiveness within the conventions of the jazz trio just floored me. Anyway the show was terrific. I was a couple feet away from the powerhouse that is Johnny Griffin.

After the show I remember approaching JG and cautiously asking for his autograph on a copy of the Southeastern Michigan Jazz Association (SEMJA) current issue I had purchased for the occasion. The rhythm section was nearby at the bar so it was easy work to approach them and complete the collection. I remember having a small chat with Kenny Washington about brush technique, where he hipped me to Spec Wright, something I had completely forgotten about until the great Australian drummer Andrew Dickeson did the same thing over 20 years later.

Michael Weiss, Johnny Griffin, Bird of Paradise 1998

Ray Brown Trio

Bird of Paradise, Ann Arbor (1994)

The great Ray Brown was appearing at the Bird. of course I was going to be there. Back then you reserved tickets by phone with a credit card. I’d just started listening to Jeff Hamilton as part of the LA Four. I’d not yet listened to much of Benny Green, except for a tremendous album called The Place to Be, which, if I remember had just come out and Ed Love was playing it on his radio show on WDET in Detroit.

I remember the show quite well, and I was sure to ask for a seat as close to the drums as possible. The Bird was a small club so really any seat was a good one. They played the fastest tempos I’d ever heard. And the most beautiful ballads, and the greasiest blues. They did an Ellington medley, which various versions of the trio always played.

Ron Brooks, who owned the Bird was a great bass player in his own right (and played weekly at the Bird), and Mr. Brown used to play there often, at least annually. I went to a couple of other shows after that with Greg Hutchinson, Geoff Keezer and Kareem Riggins as part of the group.

I remember the guys in the trio were warm and inviting as I approach them for autographs. Also at the show were old Windsor friends of mine John Barron and Kevin Venney. My friend Jeff graciously held the camera as we took photos with them. Ray Brown was, as I remember sitting in the kitchen of the Bird eating a bowl of strawberries as we interrupted him for a picture.

Ray Brown Trio (Benny Green, Jeff Hamilton, Ray Brown), myself and friend Jeff Shantz left. Bird of Paradise 1994

John Barron, Ray Brown, myself and Kevin Venney backstage at the Bird of Paradise 1994.

Myself, Benny Green Kevin Venney, John Barron, Bird of Paradise 1994

it was a fantastic night of meeting heroes and listening to unforgettable music.

Roy Hargrove Quintet

Ariva Ballroom, Detroit (1994)

I started listening to jazz actively sometime in the late 1980s. It began slowly, buying records in Vancouver, later when I moved back home. if I remember, Digital Duke was the first jazz record, followed by The Man From Planet Jazz (Buddy Rich). In the early 90s I started to get serious, and one of the records which really lit me up was The Vibe, by Roy Hargrove. This lead to a firestorm of research and discovery into small-group jazz. The ferocity of that group, Marc Cary on piano, Antonio Hart on alto, Rodney Whitaker on bass and someone who soon became my go-to-guy, Greg Hutchinson on drums.

With the Tenors of our Time had just come out when I saw the group was performing at the Ariva Ballroom in Detroit. I booked my ticket, grabbed my great grandfather’s Voigtlander Vitessa (which I did not know how to use, more on that later) and crossed the border.

For this performance the group was Roy, Hutch, Rodney Whitaker, Peter Martin on piano and Ron Blake on tenor. I made sure I was seated right beside Hutch’s drums for what was an incredible, fiery show punctuated by the tremendous front-line of Roy and Ron. The two of them have always, to me, been a match-made-in-heaven.

I cornered Roy for an autograph. I remember he was polite, but definitely keen to get onto something else, so I quickly blabbered something about The Vibe and let him on his way.

Throughout the night I managed to secure the remaining autographs between sets.

In the years since meeting Roy in ‘94 I’ve seen him perform on many occasions, and met him a couple more times. One memorable time was at the 50th anniversary of the Massey Hall Concert in Toronto in 2003. Roy Hargrove has been a central part of what I love about this music. His music has soul, joy, speaks directly to the listener as opposed to trying to out-clever them and swings incessantly regardless of the rhythmic feel. His compositions will endure as part of the standard repertoire. I’ve transcribed and had others more capable transcribe many of his compositions for the group over the years. When he passed in 2018 I, like so many others felt an unresolvable grief. I’m so glad to have had the few moments I did.

Peter Martin, Roy Hargrove, Ron Blake, Rodney Whitaker, Greg Hutchinson, Ariva Ballroom Detroit 1994, taken on my great-grandfather’s 1950’s Voigtlander Vitessa, which he used all-over the world and which I clearly couldn't handle indoors.

The Cookers

Bird’s Basement, Melbourne (2017)

Bird’s Basement is a good venue in Melbourne. They provide multi-day runs and bring in local as well as international acts. In 2017 the Cookers performed for a week. I went 3 days out of 5. Stephen Scott on piano, Eddie Henderson and David Weiss on trumpets, Billy Harper on tenor, the legendary Cecil McBee on bass and the great Billy Hart on drums. Rarely are we able to see such royalty on one stage at one time.

Billy Hart has a genuinely unique way of playing time which can be jolting at-first, then settled into something profound. Cecil McBee I first heard on a Ron Brooks record The Free Slave in 1970. That record contains on of Cecil’s compositions, Will Pan’s Walk.

I found the Cooker’s music to be inspiring. it seems like it would be relatively mainstream but, again thanks partly to Billy Hart’s unique approach to time, the music ebbs and flows in quite a beautiful way.

I’d approached Billy harper first, as they’s just played Croquet Ballet, a composition I’ve always loved since I heard it on Harper’s Black Saint record. He kindly gave me his email address and sent me his arrangement a few days later after arriving back in the ‘States.

Stephen Scott, Billy Harper, David Weiss, Cecil McBee , Eddie Henderson, and the great Billy Hart, Bird’s Basement Melbourne June 2017

Ralph Peterson Sextet

Bird’s Basement, Melbourne (2019)

The great drummer Ralph Peterson brought to Bird’s Basement in Melbourne alumni of Art Blakey sidemen to perform a tribute to Blakey. In the band was Geoffrey Keezer on piano, Bobby Watson and Bill Pierce on saxophones, Brian Lynch on trumpet , Essiet Essiet on bass and of course Ralph Peterson on drums. The music was ferocious throughout. They played The Core, A-la-Mode, Along Came Betty, Watson’s Wheel Within a Wheel , and faithful version of Caravan, which I believe is Freddie Hubbard’s arrangement.

I managed to have all the guys sign the CD aside from Essiet, who I just couldn’t pin down.

Interestingly Peterson adapted his typical style for the music of Blakey. He played Blakey-isms throughout the evening, at some points sounding indistinguishable from the man himself. It was quite amazing to hear.

When I approached Ralph Peterson, he was cordial and when I mentioned that I knew his work he said to me a-la-Lester Young, “You got eyes for lessons”? I have to admit I was smirking a bit inside, but of course I jumped at the chance. We agreed on a time, which I believe was 3PM the next day at the club. I rang early to confirm, and strangely he said we had agreed on the following day, which unfortunately I couldn’t make (and, for the record, hadn’t agreed to). So sadly I missed out on my lesson with Ralph, but over 2 nights at Bird’s Basement I feel I received a few years’ worth of invaluable schooling.

Geoffrey Keezer (not visible), Bobby Watson, Bill Pierce, Brian Lynch, Essiet Essiet and Ralph Peterson, Bird’s Basement Melbourne June 2019

Brad Mehldau Trio

Bird of Paradise, Ann Arbor (2000)

In May of 2000 I made the 30-mile trip to my favourite town Ann Arbor to catch the Brad Mehldau Trio at the Bird of Paradise, which had just relocated to Main St. The new venue was a small, perfect venue to hear a trio. This was his ‘classic’ group featuring Larry Grenadier on bass and Jorge Rossy on drums. The music was vibrant, intimate and swinging. Of course I stayed for both shows. During the first and second I approached the guys for autographs. I remember being slightly annoyed that Larry Grenadier signed his name in black over the blackest part of the showbill, but later on the silliness of that just made me smile.

I saw many great acts at the Main St. location. I think the legendary Bird closed its doors for good in 2004, after early 20 years of bringing world class music 7 days a week to the Southeastern Michigan jazz community.

Wayne Shorter Quartet

Toronto Jazz Festival (2003)

The Wayne Shorter Quartet played the Toronto Jazz Festival in 2003. Brian Blade, Danilo Perez and John Patitucci joined Wayne and played to a more-than-full-house. The music of the Quintet has always had a fluidity, and an abstract unity which sets it apart from other groups. Sometimes it seems as though the musicians are drifting away from each other, only to come back to a unified whole. It reminds me of watching the Keith Jarrett trio play, sort of a ‘stream-of-consciousness’ type of approach.

I hung around the bandstand area as the band were gathering their gear. To my surprise there weren’t many people around and I was easily able to approach each guy for an autograph. They were friendly and Brian Blade in particular was surprisingly chatty as I complimented his exquisite cymbal touch.

Bill Charlap Trio

Top O’ the Senator, Toronto (2004)

I saw the Bill Charlap Trio quite a few times. This particular gig was at the Top O’ the Senator in Toronto. Peter Washington, and another hero of mine, Kenny Washington (who I first saw with Johnny Griffin 10 years earlier) rounded out the trio. I was listening constantly to 2 of the trio’s records, Live at the Village Vanguard (2003) and Stardust (2000). Stardust contains my favourite version of Where or When.

I remember this particular gig for many reasons. Watching Kenny Washington’s brush technique first-hand was a revelation. He doesn’t ‘fake’ anything on the drums. Also, it made me aware of Gerry Mulligan’s Curtains, as they played a great arrangement (Charlap played on Gerry’s original recorded version on the Lonesome Boulevard record (1990).

Junior Mance Trio

Montreal Bistro, Toronto (2003)

I’ve always loved Junior Mance’s Jubilation. Its a great, swinging melody and I love the changes. Anyway, the trio, with Canadians Don Thompson and Archie Alleyne played a few nights at the Montreal Bistro in Toronto. I’d taken a few lessons with Archie, he’s a legend on the Canadian jazz scene and has played with Billie Holiday. Don Thompson as well is of course Canadian bass royalty. The trio played beautifully together.

Trio Beyond

Toronto Jazz Festival 2007

Trio Beyond is Larry Goldings, John Scofield and Jack DeJohnette. Holy hell. The group played at the Toronto Jazz Festival in 2007. I had a ringside seat for this incredible music. it was free-flowing, unstructured and highly interactive, a meeting of 3 legends of the music. Scofield looked like he’d just come in from dong chores in the front lawn, and DeJohnette was dressed equally casual. I suppose this was a metaphor for the informality of the music and the musicians.

Jack played a long, fluid, inventive solo with long sections played entirely on the cymbals, it was inspiring. The organ trio has long been a favourite of mine, from Jimmy Smith to Lonnie Smith, to Tony Williams’ Lifetime, Larry Young and some incredible Stan Getz sessions with organist Eddy Louiss. I left this session with Trio Beyond longing to put together an organ group.

I managed to get all 3 to sign the showbill after the performance.

Larry Goldings, John Scofield and Jack DeJohnette, Toronto Jazz Festival 2007

Cool Autographs from Cool People #1-The Drummers Part 1

There’s a few good stories in these autographs, at the very least I was in the same room with some of my drumming heroes. Here’s some masters I managed to coax an autograph from.

Elvin Jones

Detroit Jazz Festival (1991)

Elvin Jones was playing the Detroit Jazz Festival Labour Day weekend 1991. I was perched right up front of the open-air show. I remember Ravi Coltrane was late catching a plane to the show. Elvin played alone for the first 15-20 minutes until the saxophonist arrived and the show began. After the show I hurried to the side of the gate where I thought he may exit and had the opportunity to shake his leathery hand and tell him what a fan I was. All I had was a business card for my oldies band. He was kind, said ‘no problem kid’ and signed my card. The band for the show was, I believe, Coltrane and Sonny Fortune on tenor, Chip Jackson on bass and I want to say Willie Pickens on piano, but I honestly can’t remember.

Elvin Jones, Detroit Jazz Festival 1991 (before the band played, shot on my trusty Minolta X700), Sonny Fortune bottom left.

Roy Haynes

Bird of Paradise,Ann Arbor (1998)

Roy Haynes at my favourite jazz club, the Bird of Paradise on South Ashley St. in Ann Arbor Michigan. Doesn't get much better than that. I was 5 feet from him while he played with his quartet. He also signed a copy of Out of the Afternoon, my favourite album of his. I know it was David Kikowski on piano, Ron Blake (whom I had become familiar with via the Roy Hargrove group) and I cannot remember the bass player’s name. I should write these details down. It was an incredible evening.

Max Roach

State Theatre, Detroit (1996)

Max Roach was playing with his classic quartet including Odeon Pope on tenor, Cecil Bridgewater on trumpet and Tyrone Brown on bass. The State Theatre in Detroit was a good music venue. I’d just seen Frank Sinatra, Sammy Davis and Liza Minelli there not long ago. Anyway at this particular show they were supported by Straight Ahead, a wonderful group of musicians from Detroit including Gayelynn McKinney on drums, the great Marion Hayden on bass and Eileen Orr on piano. They were, as always, amazing. Anyway just how I got Max’s autograph (and failed to get the great Roy Brooks’) is the topic of a blog post here.

No pictures of Max sadly but did get to see him again in 2003 for the 50th anniversary of the Massey Hall concert with Herbie Hancock, Roy Hargrove, Kenny Garrett, Dave Holland, and Roy Haynes. Max played ‘Hr. Hi-Hat’, it was an incredible evening.

Jimmy Cobb

Top O’ the Senator, Toronto (2004)

Jimmy Cobb was performing a few nights at the Top O’ the Senator, a very good room on top of the Senator restaurant. He was playing with Mark Eisenman and Pat Collins, 2 legends of he Toronto/Canadian jazz scene. I went for 3 nights. It was, I think, on the second night, I decided to book a table at the Senator, as I often ate at venues where I was attending a show, sort of a ritual I guess you could say.

Anyway I arrived and who do I see in the restaurant but Jimmy Cobb sitting at a table by himself. I wandered up and asked him to sign a showbill. He graciously did, then invited me to sit down and join him for dinner. What a blessing that was, and he showed me a brush rhythm I still use today, the same rhythm in fact that Archie Alleyne showed me when I took a lesson at his house (in summary this rhythm involves a straight sweep with the left hand. The right hand plays the swing rhythm but digs in for a sweep on the 1 and 3, creating a very legato, smooth feel).

After the show I again walked up to Mr Cobb and asked a friend I had just met that night to take a photo (no iPhone on 2004 I’m afraid). The guy vanished after the show and never made contact to send the photo. Then, in 2005 I was in NYC with a friend, and who do I see at the Popover Cafe on 86th St. but Jimmy Cobb!

This time I got the photo. Jimmy Cobb died last week at 91, rest in peace, truly one of the greats and a tremendous inspiration to myself and many, many others.

With Jimmy Cobb, New York City 2005 (photo by Rob Jackson)

Chico Hamilton

Bird of Paradise (Ann Arbor) 1999

Another great show at the Bird of Paradise. I’m an enormous fan of Chico Hamilton, admittedly not knowing much about him before I saw Jazz on a Summer’s Day, but since then becoming quite aware of his enormous contribution. And I loved watching him in the Burt Lancaster movie The Sweet Smell of Success.

Anyway I remember he had this ‘gadget’ which suspended rivets above his cymbal, held by the centre nut. I remember the interaction with his guitar player, and the beauty of his mallet and brush work. I’m unsure of the players, as Chico tended to work with emerging talent but I believe Paul Ramsey was on bass and Eric Person was on tenor. I wish I could remember who the guitar player was as he was tremendous.

I saw the Quintet at the Detroit Jazz festival in 2003, Paul Ramsey was still on bass.

Chico Hamilton Quintet, Detroit Jazz Festival 2003

Louis Hayes

Detroit Jazz Festival (1998)

The great Louis Hayes was performing with a ‘Supergroup’ at the Detroit Jazz festival which included Barry Harris, Curtis Fuller, Charles McPhearson, Robert Hurst and Marcus Belgrave. I saw him standing with Curtis Fuller and made my way over for an autograph. I love his playing, so many great records, African Waltz with Cannonball Adderley, The Artistry of Freddie Hubbard (which has my favourite Louis Hayes track Happy Times), and Curtis Fuller with Red Garland, among many others. A true legend.

Louis Hayes with Barry Harris, Jim Gallert and Ira Gitler, Detroit Jazz Festival 1998

Curtis Fuller, Charles McPhearson, Barry Harris and Marcus Belgrave Detroit Jazz Festival 1998. Somehow I’ve misplaced the negative which shows Louis Hayes and Robert Hurst.

Andrew Cyrille

Village Vanguard, New York (2013)

On my honeymoon in October 2013 we went to New York City. We did all the things tourists do of course. We knew we were heading back to Australia after being in Canada for a while, and were looking forward to the return. One thing I definitely wanted to do was take Michelle to the Village Vanguard. I’d been before and have seen, among others, the Monday night Vanguard Orchestra and a terrific gig with Bobby Hutcherson. This time Andrew Cyrille was playing with his quartet. I’ll have to try and remember who was in the group, although I’m certain it was Eric Revis on bass. it was a stunning show. I’ve been a huge admirer of Cyrille since I heard the album To My Queen, by Walt Dickerson. Still one of my absolute favourite albums and Cyrille plays with felicity and gentleness with boundless creativity throughout. it was a joy to hear him in person.

Incidentally because we arrived a bit early we watched as he was interviewed and photographed for Modern Drummer magazine, with the article appearing in the February 2014 issue.

Andrew Cyrille at the Village Vanguard, October 2013

Adding an aluminium mounting pole to a canvas backdrop

I’m a big fan of painted canvas backdrops. They’ve become quite a ‘thing’ now with photographers such as Felix Kunze promoting them on very popular Facebook pages and lighting classes, and YouTube has many examples of how to create your own, Oliphant being the gold standard, although there are many great options.

Personally I use backdrops painted by Michelle Barton at MCB Studio Backdrops. I’ve had a couple done by Michelle and I’m quite happy wth the results.

The latest drop I had done by Michelle is a 1.2x1.5m grey which I intend to use for headshots or tight 3/4 portraits. For my 2x2 drop I used a 40mm wooden dowel as a mounting post, secured to the drop with carpet tacks and to 2 light stands with super clamps. I did this to reduce the amount of time it takes to setup and mount the drop when doing location work, and I’ve found it to be effective.

However I wanted an even lighter option for this portrait drop, as in theory I could mount it to a single light stand. So, I came up with the idea of using an aluminium tube. The drop would be mounted with a Cardellini clamp, an idea which I got from a Felix Kunze video. After considering various options for securing the drop to the pole I decided on pop rivets. I chose rivets for a couple of reasons; they would be flush mounted so as not to cause damage to the drop when rolling it up, and they would very securely attach the drop to the pole.

So, here’s he shopping list:

1. Backdrop (obviously)

2. 25mm x 1mm thick Aluminium tube (I used this one from Bunnings)

3. Rivet gun (again this one)

4. Rivets (I used 3.2mm)

5. Drill with a 3.2mm rivet bit

6. Ruler

7. Sharpie

8. Safety glasses

9. Hack saw

10. Filing bit to smooth the cut-edges

The process is pretty straight forward, but there are a few things to consider. Here is the process in summary:

• Measure out the pole and cut it to length. For smaller drops where it will be centrally mounted (such as with a Cardellini clamp), the tube length can be the same as the drop. For larger drops which will be mounted on 2 stands (on on each side), make the tube 30-40 cm longer which will allow mounting with Super clamps as I’ve mentioned above, and the extra length will make it easier to roll the drop up after the shoot. For this drop I made the first cut to 135cm for a 120cm drop, thinking I would fine-tune it later. In hindsight I could have cut the length at 120 first-go, possibly leaving a small additional space to account for evening the pole edges after cutting.

• Measure, mark and drill holes for the rivets. it is important to use the correct bit, as there should be a snug fit to allow the collar of the rivet to properly hold the drop. Be sure to check that the holes are aligned with each other, as this will make aligning the drop easier.

• Place the tube into position on the drop. it will rest on the painted side of the drop to allow it to roll up with the unpainted side facing out. This will, of course, ensure the drop trails safely and the painted side does not get damaged or dirty. Carefully mark

• The way I marked the holes on the drop was to carefully wrap the drop around the pole, leading around 5cm of space between the hole and the end of the drop. This was to minimise lost drop space, while providing a good amount of fabric to help secure the drop to the tube. Feel for the hole with you finger then mark the spot with a sharpie. This is the step which requires the most amount of care, as you’ll what to keep checking that the drop is pulled tight and that it is even across the tube. I had thought of drilling both the drop and the tube at the same time, and I tried it using A clamps to hold the drop but I felt that it required too much clamping pressure from the table I was using which may have creased the drop.

• Drill the holes into the drop. For this I changed to a slightly smaller bit. I felt a smaller hole would leave more fabric, and hopefully create a better grip.

• Insert the rivets. Again, constantly check the tension of the drop to make sure it is tight. I inserted the rivet by hand first, then placed the gun over the rivet. it takes quite a bit of force to secure the rivet, but it seemed to work very well. I took a great deal of time on this step.

That’s really the end of the process. I’ve put a little video together of this first attempt:

After it was all finished I mounted the drop using the following:

1. Manfrotto 1004BAC light stand, which is a good compromise between portability and support.

2. Avenger D500B 20” grip arm

3. Avenger D200B grip head

4. Cardellini clamp to hold the drop (note I use the longer clamp to allow the drop to clear the stand legs)

5. Sand bag as required

Here’s he final result:

View fullsize

Final drop rear-view mounting with Cardellini clap

Now, what will I do differently next time, here’s a few thoughts:

1. Possibly a thicker diameter tube would work better. This is really to ease the process of rolling the drop up. For stability, the 25mm is more than adequate. Plus, 25mm was the largest available unless I wanted to go to stainless steel which was out of the question weight-wise.

2. I’d use a 4mm rivet for larger drops, just for that extra grip. Again, the 3.2mm will be fine for this one.

3. I’ll add end caps to clean it up.

4. I’ll find a better way to drill both the drop and the tube. The way I’ve mentioned worked, but I’d like to find a way to drill both the drop and the tube at the same time. I could possibly use super clamps.

I’m happy with how it all came out, the drop is secure, easy to transport and lays evenly behind the subject.

Easy-to-transport portrait backdrop kit.

Front view

Favourite Records #1-Doin’ the Thing-Horace Silver Quintet (1961)

This record was recorded by the Horace Silver Quintet in mid-1961 at the Village Gate in New York City. It features arguably Silver’s greatest of his many great bands. The ferocious Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor bass and the great, mercilessly swinging Roy Brooks on drums.

Track Listing

1. Filthy McNasty

2. Doin' the Thing

3. Kiss Me Right

4. The Gringo/Cool Eyes (Theme)

5. It Ain't S'posed to Be Like That

6. Cool Eyes

Doin the Thing sounds like I want every gig to sound. A great band playing soulful, swinging music with an audience who is enthusiastically along for the ride.
Silver’s compositions have always stood alone for their deep-rooted, almost spiritual emotional weight, and his uncanny back for foot-stomping connection with the listener. This to me is the single greatest objective in music, to pull the listener in, to share the experience.

The album sound is clear and pristinely recorded. Roy’s cymbals have an intimate clarity as he drives the band with sometimes just quarter notes, which is a trademark of his. He voices his ride cymbal below the rest of the kit which creates a smooth blanket for the rest of the band. Listen to the rhythm he plays on Filthy McNasty. His left hand plays an Earl Palmer-inspired straight-almost-swung quarter note which sits beautifully with the ride cymbal. This is very difficult to play with the kind of balance and clarity that Roy does at 185bpm. The tempo gradually drifts to 205bpm, during which Roy adjusts the left hand pattern to a simpler, more syncopated rhythm.

This is mainstream hard-bop played by masters; gritty, engaging, played with humour and a genuine intent to bring the listener along for a soulful good-time.

Check out the rest of my favourite recordings here.

Pick it up on iTunes

My Favourite Records

Where does anyone start when compiling a list of favourites?  What is the criteria?  Our tastes evolve constantly and we move through different emotional states throughout our lives, all of which re-define what we listen and respond to.

I've been thinking over the last few weeks about the recording which have been significant to me in one way or another, either because they gave me the inspiration I needed at a particular point in time, or they struck a nerve which complimented what I was feeling, or they just kicked my ass. 

Here are those recordings.  Funny thing is that I listen to all of them from time to time still, as I'm from a generation which played a record from start to finish, scoured the artwork and tried to imagine what it was like to be a fly-on-the-wall for the performance.

In no particular order:

Live Recordings

1. Live at the Regal B.B. King (1964)

2. Live at the Five Spot Eric Dolphy (1961)

3. Live at the Lightouse Lee Morgan (1972)

4. No Cover No Minimum Billy Ecstine (1960)

5. One Night Stand! Live At the Harlem Square Club Sam Cooke (1963)

6. Swiss Movement Les McCann and Eddie Harris (1969)

7. Live at the Fillmore West Aretha Franklin/King Curtis (1971)

8. Live at the Sex Machine Kool and the Gang  (1971)

9. Doin’ the Thing Horace Silver Quintet (1961)

10. All the World’s a Stage Rush (1977)

11. Live at the Blackhawk Shelly Manne and His Men (1959)

12. Sunday at the Village Vanguard/Waltz for Debbie Bill Evans Trio (1961)

13. Four and More/My Funny Valentine Miles Davis (1964)

14. Live! Lou Rawls (1966)

15. In Concert Peter, Paul & Mary (1966)

Studio Recordings

1. Winelight Grover Washington Jr. (1982)

2. Backlash Freddie Hubbard (1966)

3. Free to Be Donald Harrison (1998)

4. Black Codes from the Underground Wynton Marsalis (1982)

5. Far East Suite Duke Ellington/Billy Strayhorn (1967)

6. Sgt. Pepper's Lonely Heart Club Band The Beatles (1967)

7. Just In Time Larry Willis (1989)

8. A Love Supreme John Coltrane (1965)

9. Workin’, Steamin’, Cookin’ and Relaxin’ with the Miles Davis Quintet (4 albums in 2 1956 sessions)

10. The Black Saint and the Sinner Lady Charles Mingus (1963)

11.  Ellington Uptown Duke Ellington (1951)

12. Clifford Brown & Max Roach Clifford Brown & Max Roach Quintet (1954)

13. Nancy Wilson/Cannonball Adderley (1961)

14. Someday My Prince Will Come Wynton Kelly (1961)

15. Roll Call Hank Mobley (1960)

16. With the Tenors of Our Time Roy Hargrove (1995)

17. John Coltrane and Johnny  Hartman (1963) 

18. Live at The Senator Brian Dickinson (1995)

19. Stardust Willie Nelson (1978)

20. Voodoo D’Angello (2000)

21. Nefertiti Miles Davis (1968)

22. Blue Soul Blue Mitchell (1959)

23. Wanton Spirit Kenny Baron, Roy Haynes, Charlie Haden (1994)

24. Getz/Gilberto Stan Getz, Joao Gilberto (1964)

25. To My Queen Walt Dickerson (1962)

26. Blue Serge Serge Chaloff (1956)

27. The Vibe Roy Hargrove (1992)

Modifying the Gibraltar GBDP Bass Drum Pad

I've been trying for a while to perfect my practice setup.  I've got challenges, with precious little space.  Also, I have a curious 3-year old who loves to innocently topple things.

I had a proper electronic kit, but when the room became my daughter's, there just wasn't the space.  So, I decided to focus on the basics.  I set up a snare pad (my trusty old HQ Real Feel Cartridge Pad) and purchased the Gibraltar GBDP bass drum pad.  

Both worked well.  I've had my HQ Real Feel for years, probably 10-12 years at least, and it's travelled around the world with me.  However, I've always noticed the difference between the practice and acoustic kits, not to mention the affect on my joints of playing on rubber surfaces.

It was while I was watching JoJo Mayer's bass drum video where I noticed he has what looked like an 18 or 22" bass drum practice pad with what appeared to be a mesh head.  

I began researching and I came to the conclusion that whatever he had was not commercially available, that it was likely a customisation based on the Sabian Quiet Tone mesh practice pad.  I studied the video, as there are quite a few good views of the construction.  I drew up plans based on vertically mounting the pad (which I did not yet purchase) and constructing a base and truss system.

I figured I would order the pad first then examine it to be sure I could design something and have it built.  So, I ordered the 12 and 14" pads.

As I was waiting for the pads to arrive, I had a thought, that perhaps I could utilise the foundation of the Gibraltar GBDP for my design.  As I pulled it apart to better understand it, I observed that it's design was both simple and solid.  In other words it would be logical to reuse it.  It was only the soft rubber beater surface which I wanted to change, the chassis itself was well built and would suit my purpose, I'd just end up building something similar anyways.   

Gibraltar GBDP pad before modification

 The design of the GBDP consists of a circular beater surface with a hollow rubber striking pad, filled with formed styrofoam.  It's actually quite an inefficient system for managing impact, and provides almost no rebound.  This transfers quite a bit of the energy to the knees which, over time, could cause issues. The pad itself is secured to the GBDP frame by a single bolt dead centre, which allows you to simply spin the pad counter-clockwise to remove it. 

Centre tread for GBDP pad, which will be used to secure new back plate

With the basic design of the GBDP understood, my pads arrived.  I decided to use the 14" as my snare pad, and to repurpose the 12 as my new bass drum pad.  In examining the Quiet Tone pads, I observed that they are quite simple, a standard 6 lug hoop with equidistant (obviously) holes, tensioned by pressure exerted by the tension rods securing the pad frame (which consists of 4 flat aluminium bars), against a simple collar which sits where a standard drum rim would be.  

I had the idea of replacing the aluminium bars with a circular piece of Perspex, with holes drilled for the lugs and the centre mounting bolt. The tensioning of the lugs would tension the head using the same principle as the original design, therefore allowing accurate tensioning.

Adobe Illustrator mock-up of practice pad backing perspex.

I drew up the design after measuring, and allowed for the Perspex to be about 6cm larger (35cm diameter) than the Quiet Tone pad to create a solid backing.

 I looked on line for a company which could make it, and found AB Plastics in Hallam. I sent in my plans and waited for the disk to be completed.

Perspex disk cut and drilled to my specifications

When the disk arrived it worked perfectly.  The holes were exactly where they needed to be and it was solid. I made one more switch, I replaced the standard heads of the Quiet Tone with Remo Silentstroke heads.  It plays like a real drum, and I couldn't be happier. I can play for hours with no noticeable knee or leg fatigue.

Below are a few images of the process, feel free to shoot me an e-mail if you'd like the Illustrator vector file, or a PDF.

Disk mounted to GBDP frame

Centre bolt to hold perspex to frame

Sabian Quiet Tone practice pad with Remo Silentstroke head, which I slightly preferred and used to replace the default head on the Sabian

Final mounted design, before I remembered to remove the protective coating from the Perspex :)

Final design prepared for practice

And finally with my Vector pedal