Jazz

Maynard Ferguson – Birdland

malawolf85
Published on Jul 31, 2008

Walter Maynard Ferguson, best know for his extreme high register control on trumpet, was a Canadian jazz trumpet player and bandleader. Born in Verdun, Quebec (now part of Montreal) Maynard by the age of four was playing piano and violin but at 9 years of age he switched to cornet. At age thirteen, Maynard first soloed as a child prodigy with the Canadian Broadcasting Corporation Orchestra and was heard frequently on the CBC, notably featured on a “Serenade for Trumpet in Jazz” written for him by Morris Davis. Maynard won a scholarship to the French Conservatory of Music where he studied from 1943 through 1948 with Bernard Baker. Maynard dropped out of Montreal High School at age 15 to more actively pursue a music career, performing in dance bands led by Stan Wood, Roland David, and Johnny Holmes. During this period, Maynard came to the attention of numerous American bandleaders and began receiving offers to come to the United States. Maynard moved to the United States in 1949 and initially played with the bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet. The Barnet band was notable for a trumpet section that also included Doc Severinsen, Ray Wetzel, Johnny Howell, and Rolf Erickson. When Barnet temporarily retired in 1949 and disbanded his orchestra, Maynard was free to accept an offer to join Stan Kenton’s newly formed Innovations Orchestra, a 40-piece jazz concert orchestra with strings. While the Innovations Orchestra was not commercially successful, it made a number of remarkable recordings, including “Maynard Ferguson,” one of a series of pieces named after featured soloists. When Kenton returned to a more practical 19-piece jazz band, Maynard continued with him. So popular was Maynard with Kenton that for three years running, 1950, 1951, and 1952, he won the Down Beat Readers’ Poll as best trumpeter. In 1953, Maynard left Kenton to become a first-call session player for Paramount Pictures. Ferguson appeared on 46 soundtracks including The Ten Commandments. Ferguson still recorded jazz during this period, but his Paramount contract prevented him from playing jazz clubs. While he enjoyed the regular paycheck, Ferguson was very unhappy with the lack of live performance opportunities and left Paramount in 1956. In 1956, Maynard was tapped to lead the Birdland Dream Band, a 14-piece big band formed by Morris Levy as an “all-star” lineup to play at Levy’s Birdland jazz club in New York City. While the name “Birdland Dream Band” was short-lived and is represented by only two albums, this band became the core of Maynard’s performing band for the next nine years. Following the path taken by many jazz artists in the 1960s, Ferguson left the United States. Feeling that he needed a period of spiritual exploration. Maynard formed a new band and it made its North American debut in 1971. Maynard latched on to the burgeoning jazz education movement by recruiting talented musicians from colleges with jazz programs and targeting young audiences with performances and master classes in high schools. This practical and strategic move helped him develop a strong following that would sustain him for the remainder of his career. In 1988, Maynard formed the group Big Bop Nouveau, a nine-piece band featuring three trumpets, one trombone, two reeds and a three-piece rhythm section. The band’s repertoire included original jazz compositions and modern arrangements of jazz standards, with occasional pieces from his ’70s book and the Birdland Dream Band; this format proved to be successful with audiences and critics. In 1992, he was inducted into the Down Beat Jazz Hall of Fame. Just days after completing a weeklong run at New York’s Blue Note and recording a studio album in New Jersey, Maynard developed an abdominal infection that resulted in kidney and liver failure. Ferguson died on the evening of August 23, 2006 at the Community Memorial Hospital in Ventura, California.

Maynard gives Birdland a whirl… and it is good. Of course! My cuz played bass with Maynard for a good while.

be well

 

smooth R&B 7 8 Bb – N Zaganin – Boss Blues Driver Waza – DD7 – RV5

Mauro Samuel
Published on Jun 11, 2018

smooth R&B 7 8 Bb Coffee Break Grooves.com

Mauro Samuel – Blue Bossa II Gibson ES-339

Mauro Samuel
Published on Sep 1, 2014

Mauro never fails to satisfy. Smooth moves always.

Be well

 

C Dorian Mauro Samuel

Mauro Samuel
Published on Apr 7, 2018

Coffee Break Grooves Acid Jazz 1-7
Boss DS-1W Waza
Marshall Class 5
N Zaganin Strat

Go Mauro! Sweet and smooth… really nice tone.

Simpatico with my bio.

Still very into gear I see, well, more power to ya, if you make sounds like this!

Rock on, amigo.

peace

 

Caldonia / Louis Jordan

Elwood Yodogawa
Published on Aug 28, 2008

ロックンロールの源流になった名曲です。 1959年にビル・ヘイリーもカバーしています。
google translation
It is classic that became a source of rock ‘n’ roll. Also covers Bill Haley in 1959.

I love this song. And this artist.

it has a very special meaning for me…

I post it here on on Christmas Eve because it is my Mom’s favorite song, God rest her loving Soul.

I love you, Mommy.

peace

 

John Abercrombie – Timeless

ECM Records
Published on Oct 12, 2017

John Abercrombie
Jan Hammer
Jack DeJohnette

Timeless

John Abercrombie – guitar
Jan Hammer – organ, synthesizer, piano
Jack DeJohnette – drums

CD + 180g Vinyl: http://bit.ly/2ydJHqa
iTunes: http://bit.ly/2g4aSLM

John Abercrombie’s ECM debut ‘Timeless’ (recorded 1974) has proven to be exactly that. This fiery session with Jack DeJohnette and Jan Hammer still sounds as fresh as the year it was released. “Timeless comes as a major surprise in terms of its depth, scope and inventiveness,” wrote Tim Buckley’s guitarist Lee Underwood in the L.A. Free Press. “[It] indicates that John Abercrombie is a major musical voice of tomorrow.”

ECM 1047

Photo: Roberto Masotti

Website: https://www.ecmrecords.com
Facebook: https://www.facebook.com/ecmrecords
Instagram: https://www.instagram.com/ecm_records

This wonderful man was cousin Rick’s roommate in college and I am therefore quite sure that a heckuva lot of sweet, sweet music filled the air over there. I was saddened to learn that the lad has passed and some time ago, too. But his music is immortal, a gift to us all for all time.

Man, I very often hate being a g. d. hermit. I am trying to be better, with limited success, but learning of this reality made me sad.

Well, the title says it… sigh… enjoy, folks.

peace

 

Jazz Funk – New York Mary – Zoo Mouth

Sunlight Man
Published on Sep 8, 2017

New York Mary – Zoo Mouth (Arista Records) 1976 www.facebook.com/groups/boogieland

From the second album, A Piece of the Apple, released in 1976… track number 4.

  • Bruce Johnstone: Baritone Sax, Alto Sax, Flute
  • Rick Petrone: Electric Bass, Phaser Bass
  • Joe Corsello: Drums and Percussion
  • Ron Friedman: Trumpet, Electric Trumpet, Flugelhorn
  • Robert Aries: Electric Piano, Synthesizer

After touring the world with Maynard, Rick got together with some buds to form the group New York Mary, pioneering the way in and for the just-invented niche of jazz-fusion and hoo doggy did they do it well!

Sadly, the big wigs at the record label are the ultimate authority on who lives and dies musically and I guess my heroes didn’t sell enough platters for their liking, so they cut the boys off after just two albums.

Farging bastiges.

I mean, really.

Money. It’s all only about tje money. I hate the stuff, personally. It causes pain. In the world our species has created one absolutely needs it, but I hate it nonetheless.

peace

 

La Fiesta – Maynard Ferguson

4andmore
Published on Mar 17, 2017

from a live performance in Orange County, California — circa 1974

Been talking to Rick a lot lately as he has very kindly taken the reigns, (along with his awesome daughter Jamie Petrone*), of the service and obituary part of Aunt Clare’s proceedings. This is a more profound thing than you might be thinking because my mind was knocked off the rails so far that the angels are still using cranes and such to upright it. I want to get it in today because tomorrow is hip surgery day for Rick. Good Lord, it never ends for any of us, does it?

I have not experienced something that compares in power to this. I am still far from normal and have a really difficult time being alone. And I do mean difficult. Fortunately and thankfully there are multiple angels that have been keeping me afloat. Rick and Jamie are among them. They know not just exactly how deeply I love them.

Here’s a bit more on Rick… the man has had some fabulous experiences… and the beat goes on!

From Rick Petrone Interview – December 2005

Rick Petrone played bass during what is considered by some to be Maynard’s most popular and creative period…the early and mid 1970s. Those that saw Rick play as part of Maynard’s band in concert undoubtedly remember his extended solo on La Fiesta. Since leaving Maynard’s band, Rick has had a successful and creative career. With the current release of Maynard’s “At The Top” DVD (which features Rick) as well as a new CD featuring Rick (see below for details), it seemed like a good time to talk to Rick and catch up.

  1. Let’s start with your musical background. Can you tell us about your musical education?I began as a violinist (horrible) moved to acoustic bass at 10, started playing gigs at 11 (no lie). Did the usual H.S. things in music. I was basically self taught until I went to Berklee 1964-69 and roomed with guitarist John Abercrombie, who was a friend from my hometown in Greenwich, CT. There I was one of 5 bass players (over 100 these days). I also met Lin Biviano and played in his Maynard band at Berklee. This band met every Saturday and little did I know where it would lead.

    In 1968 I was fortunate to study and play with trombonist Phil Wilson who recommended me for Buddy Rich’s band. The band needed a fill-in for a few months while bassist Bob Magnusson dealt with some Viet Nam war problems. I stayed on for about 6 months and had blast. Buddy and I actually became friends and I saw him many times when I was on the MF band and we played on the same bill. I went back to school, graduated with a BA in Music and went on the road with the Glenn Miller band & then the Tommy Dorsey Band, both ghost bands by that time of course in 1969.

    I had also gone to Berklee with old friend Joe Corsello from Stamford, CT. He recommended me to Marian Mac Partland and I joined and stayed with her for 1970 & early ’71. With her I got to play with Chuck Mangione, Sarah Vaughan, Jackie & Roy, drummer Mickey Roker, pianist Duke Jordan and Ralph Towner (when they filled in for her).
  2. Who were your musical influences? 

Read the rest!

Love man, just love.

peace