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