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

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)

Max Roach...and Roy Brooks

The Max Roach quartet was playing at the State Theatre in Detroit.  I think it's called the Fillmore now.  It was finally my chance to see the great Max Roach in person.   At the time, (early 1996) I'd been listening and transcribing whatever I could find.  I would head to Liberty Records in Ann Arbor and buy pretty much anything with Max on it. 

I was relatively early-on in my jazz studies and had only been playing the music for a couple of years, but I'd honed in on Max, Art Blakey and Philly Joe as the architects and pioneers of the music, at least as far as the drums were concerned.

I left very early to make sure any delays at the border wouldn't cause me to be late or miss the show. Everything went smoothly and I was at the theatre about an hour early.

I walked up to the theatre thinking I would spend my time at the bar until the door opened.  as I walked into the theatre I saw a red-carpeted stairway.  I couldn't see past the door at the end, but intrigued I climbed the old, seemingly vertical stairway.  When I reached the top I saw what was obviously a pre-show party.  I recognised a few people from the Detroit music scene, Ed Love the great jazz DJ, and I remember seeing Larry Nozero and Kirk Lightsey having a drink in the corner bar. Then, I looked to my immediate right and I see the great Max Roach standing with a friend, not 5 feet away.  I calmly walked up to him, mumbled something about being a huge fan, blah blah, and handed him my program and the sharpie I had stashed in my coat pocket.  He looked at his friend and smiled a gentle smile, and autographed my program complete with a semi-abstract drawing of a drum set.  

I'm pretty good at not overstaying my welcome, so I thanked Mr. Roach, shook his hand, nervously shook his friends hand (I suppose to apologise for the intrusion) and left down the same steep stairway.  

By that time the bar had opened so I adjourned myself to savour my good luck and study every stroke of my newly acquired autograph. 

It's funny how the mind works. I opened my program and looked at the artwork.  Then I thought to myself  'Shit. That was Roy Brooks standing there with Max Roach'.  I had happened upon two of the great drummers of our time, Roy Brooks being one of the most fertile creative minds of the Detroit/American scene, a great, almost unsung hero, and I had virtually ignored his presence while I fanned over Max Roach.  You idiot.  It wasn't missing a moment to bag 2 legendary autographs that made me feel so terrible.  It's the fact that Roy Brooks was/is a legend, and hasn't had an easy time of it.  Although he'd played with greats like Woody Shaw, Yousef Lateef, Horace Silver and Charles Mingus, and made some of the most adventurous music I've ever heard, he'd never rreally achieved the level of notoriety of his contemporaries, and struggled for years with mental illness, ending his life in poverty and imprisonment. I somehow felt my inadvertent snub, no matter how innocent in some way reflected, to him, the lack of wide-spread recognition that had been afforded the likes of Max Roach. It's bothered my ever since, and I've thought about that evening many times over the years. 

The next day was a Saturday, if I remember.  I drove to Ann Arbor Michigan to Borders Books and Music, which at the time had the best-curated jazz section in Detroit, and I bought 5 or 6 Roy Brooks records, including:

1. The Free Slave (on vinyl)

2. Duet in Detroit

3. The Golden Flute (Yousef Lateef)

4. M'Boom (with Max Roach, again on vinyl)

I can't  remember the others, but these 4 have stayed with me to today, and The Free Slave is one of the great records of all time, featuring a young Woody Shaw, with Cecil McBee, George Coleman and I think Hugh Lawson on piano. Damn, I wish I had been more in the moment and recognised the great Roy Brooks.

Check out this terrific interview with Roy Brooks, and an article/obituary in the Guardian.

Gig Pick #1 Play Misty For Me

I thought I’d share a few favourites from past gigs. Over the last 30 years there’ve been many which stand out. Not all for musical reasons. I remember on my first professional gig, 1985. I was playing at a place, the name of which escapes me. Midway through one of our classic-rock anthems the place filled with police as they took down a prostitution ring, which evidently operated out the back.

What I’ll share on this series of posts are favourite musical moments. I’ll mention the players, the venue and whatever I can remember.

Today’s offering is from one of my favourite trios.  Damien Slingsby is playing piano. Damien is easily one of the most swinging, musical pianists I’ve ever played with. He’s returned to Canberra, and I wish he’d show up in Melbourne again one day.  Kain Borlase is on bass. Again, a favourite payer of mine. We don’t play together as much as we used to. Kain leads a variety of always-interesting groups, including one of my most enjoyable, an exotica ensemble now called Mondo Kain. I wish we’d work together more.

This is from a little club in Richmond, now gone called Kojo Brown. The song is Errol Garner’s Misty, taken medium tempo, with great solos by Damien and Kain, as always. Me, I had a great time and generally stayed out of the guys’ way.