[S Clark]

In 1956 big bands were nearly dead.  At the newly established Newport Jazz Festival, Duke Ellington's band had been postponed until after midnight due to late band members, and no one knew that sax player Paul Gonsalves was going to set the place on fire. About 3:45 minute in he starts his small solo... that just kept going.   Listen for the crowd noise build.  This is played into the wrong mike; the other mike on stage was the one used for the recording!  I'd love to hear the energy up close!

https://www.youtube.com/watch?v=5vnrNWyvI-U

What are the other great solos that we should hear???

[richidoo]

I love that Gonzalvez solo on the original Columbia LP. Come to find out it was actually a remix of his studio recording made the next day with audience noise from the concert the night before. The original album we love so dearly is really a hoax. Of course it is absolutely wonderful, but now the real live concert is also available. The double CD set has both sessions, the live concert from the night before plus the studio sessions from the next day. All of it is awesome.
http://www.amazon.com/gp/product/B00000IMYA

I have many all time favorite jazz solos. But if I had to choose one, it would be Clifford Brown soloing on Horace Silver's composition Split Kick, on Blakey's album A Night At Birdland.
http://www.amazon.com/Night-Birdland-Vol-Art-Blakey/dp/B00005MIZ8
This solo, along with his ballad Once In A While on the same album launched his career. He was playing with Hampton in Europe when this session was released on record. When he arrived home he was a superstar and didn't even know it.  The live session was recorded in the early morning in February 1953 one of the very first live jazz recordings to be published. That's why the MC, PeeWee Moore takes time to explain the concept of "when you clap your hands go right over the records there so might be someplace and say that's my hand on that record that I dug down at Birdland!"  When Blakey was putting this band together a couple weeks before the session he was having trouble finding a trumpeter. He explained his situation to Dizzy Gillespie and Charlie Parker and they recommended he has to get Clifford from Wilmington DE. Blakey never heard of him, they said trust us you'll love him. And he did. He brags about the band on the record as if they've been together for years. I met Bruce Lundvall, president of Blue Note records in 1985 in his office in Manhattan. We talked about Clifford and he told me he attended this concert on this record when he was a teenager. He said the room was electric. He has never felt anything like that since. The music was much more powerful in person than on the record. He said it was a life altering event for him. Indeed, he become a famous and powerful jazz producer, and it inspired me to become a jazz trumpeter. James Williams, (rip) pianist and music director for Art Blakeys band in late 70s early 80s and who taught Marsalis the famous How Deep is the ocean tune the night before Wynton played it in his Messengers audition, said many musicians of our generation got into jazz because of this record. James' cousin Tony Reedus (rip) attributed that record to his desire to go pro. And many others James mentioned that I can't remember now, from conversation 30 years ago. By the time I was playing pro in the 80s, the importance of this recording to new players had diminished. Young jazzers were into Miles' first and second quintets or the Chick Corea/Bill Evans stuff, and of course the Marsalis path.

In 1997 working IT in NC, a friend and fellow network engineer and I were going out to lunch. When I started the engine the cassette started playing turned up loud of this tune with Clifford wailing away. Normally I never shut off the music while he's still playing, but maybe I stopped it right before he started. My friend was a lead singer in a Black Sabbath cover band. He loved Ozzy. He dressed up and everything. So when I hear the loud jazz come on I said crap I gotta turn this down he's gonna hate this old jazz stuff. But he stopped me, said wait leave this on! This is awesome. This is one of the few jazz records I've heard that I could actually listen to. I gave him a copy and he never said anything more about it...  But it did make an impression.

Another friend, 85 year old jazz trumpeter in Raleigh we played together in local big band for a few years. He was on his last legs. Catheter, trouble breathing, he died a couple weeks later. I was visiting with him for the last time around 2007. He was playing me some cool Jimmie Lunceford stuff I'd never heard. Then I asked him if he's ever heard of Clifford Brown? Never heard of him. Playing swing jazz trumpet locally since the 50s. I said you're in for a treat. Played Once In a While for him. Normally he was chatty and would change the subject as old timers will do when talking with youngins. But he listened all the way through and said wow or something to that effect. He was very impressed.

My grandmother gave me this Night At Birdland record for Christmas when I was 8 yo, 20 years after the recording. I wasn't allowed to use my Dad's system then, but I did anyway, got up on a chair to get the record off the closet shelf and played it when he wasn't home. I fell in love with jazz and trumpet listening to this, and started playing the next year. This record and this tune in particular clears my mind and lets me solve problems. I can hear Clifford speaking to me in his solos. I have a strong connection to him. 

Yeah, so that's my fav solo... Wanna know my 2nd fav? haha   

[S Clark]

Absolutely, Rich!  Although 63, I've really only fallen big for jazz over the last 6-7 years.  You guys that have a tie to the greats that changed music make me just shake my head in envy, so tell us more.  Wow. The head guy at Blue Note...I wish ol' JimDGoulding would post more.  His stories of hearing the greats live in the 50's keep me enraptured.  Can you imagine being in a San Fran club and having Miles sit down next to you during a break? Ask Jim about it. 

By the way, I'm going to pretend I never read that the Gonsalves take was doctored.  It still great stuff.
Scott

[Russell Dawkins]

Good idea for a thread!
Since apparently the mic that was used by Gonzalvez went to the Voice of America broadcast (the recording of which still exists) I wonder why no one has blended that sound in with the sound captured by Columbia Records.

[Russell Dawkins]

  Can you imagine being in a San Fran club and having Miles sit down next to you during a break? Ask Jim about it.   
Scott

Or being in a New York club after finishing your show and sit down and drink 'till the early hours with John Lennon and Harry Nilsson, as did Chris Becker (lonewolfny42) who played in the Harlots of 42nd St, the band they had come to see.

[richidoo]

I've got a lot of great memories and stories from my jazz days. But I tend to keep audio separate from my jazz playing in the distant past. But I'll chime in when I have something that fits the topic. I'd like to share, no point keeping the stories secret anymore if they'll make someone smile like I do when I remember them.

Speaking of Blakey I did have a drink with him at the bar in a Dorchester, MA club,  before he went on. Just he and I sitting there on stools, I told him I played trumpet and wanted to be in his band. I was 15. He said he has a big surprise in store for me tonight. His new trumpet player, Wynton Marsalis, and I was gonna love him. I forgot the name immediately when he said it, couldn't really understand the weird syllables, it might as well have been alaskan eskimo or japanese. But the first time I heard the words Wynton Marsalis was from Art Blakey's lips to my ear. The Russian trumpeter Valerie Pornomorov had just been replaced by Wynton, so I just figured another unknown european trumpeter. But Wyn played a great show and I can say I saw him live before I ever knew who the hell he was. A couple weeks later his debut self titled record came out.   After a short chat I left Blakey to gather his thoughts alone. A few minutes later he walked past our table and told my Dad I've got a lot of balls and wished me luck with my career.

Later when I was around 18 I guess, I would drive down to NY from Boston to see the jazz messengers and hang out down in the basement of Sweet Basil club on W. 95th with the band. Blakey would sit down at a small table and all the band and manager and groupies and his coke dealer would be hanging around while he held court. I remember one time he was talking about his all time favorite trumpet players. Terrence Blanchard was sitting down with him asking questions and listening to every word while everybody else was circling in various orbits talking half listening. It seemed like this was common fare for them, and they were waiting to go back on, or whatever. Bu said he liked KD the best, and Hank and KD were his fav front line. Hank was the best at playing up tempo of any player he ever played with. Terrence, Toussant, Duck, Plax and I don't remember the piano, probably Bennie Green? After the show I walked out with the horns and stood while they all waited for a taxi in the snow at 3am to go back to their brooklyn apt. Just like kids at Berklee, samo samo jazz dudes, but becoming big stars. I often jammed with fellow Berzerkleeites Toussant and Duck in Boston less than a year before.  Watching Bu snort coke was an eye opener, since I didn't even drink. His dealer was all dressed up in cashmere and fur hat, way pimped out. It was no biggie to everyone else but they were all clean.

Twice I sat in with the Messengers at Sweet Basil. Both times Blakey was very particular to have a pep talk huddle with the guest players before the last set started. He told us this is a show, put on a good show, don't fuck around, don't showboat, have respect for the music and the crowd. It was pretty fun to feel him playing behind me as I had imagined and dreamed about for many years. 2 choruses of blues in F went by in a flash. The tune Byrdlike, maybe? Got a pretty good hand for 2AM, and a great memory. The 2nd time a drummer sat-in in Blakey's place, but it was still fun. Plaxico was always very kind and supportive, and so was Terrence.

[mcgsxr]

I love the smooth runs put together by Sonny Rollins on "St. Thomas" from "Saxophone Colossus".  Elegant and intriguing without being over the top aggressive.

I am sure most of you have heard it. 

It was the song that got me started researching and listening to 50's sax driven jazz.  It led me to discover many other sax players - Adderley, Getz, Young, Hawkins, Coltrane, Parker etc.

Many different styles, and so many different albums.  What a great journey it has been so far! 

[rockadanny]

Cool thread. 

Joe Morello's drum solo on Dave Brubeck's "Take Five" for sure.

Also, John Coltrane's soprano sax solo on "My Favorite Things".

There are many great drum and sax solos (a bazillion by JC alone), but these two are my favorite of each type. Not just as standalone performances, but the way they are hypnotically weaved into the tune. Stunning.

[ZLS]

    Two by Johnny Hodges:

    1. Isfahan (The Far East Suite)

    2. Blood Count (The song written by Billy Strayhorn as he was dying from leukemia.

[md92468]

Maybe not the greatest, but I always loved Freddie Hubbard's opening solo from the title track on Open Sesame. Just electric - quite an opening statement from the (then) 22-year-old. 

[FullRangeMan]

To my ears on this seminal great sound quality recording standout two solos, the succinct and beautiful opening drums solo by the Panamanian William Emanuel Cobham aka Billy Cobhan and an electrifying 155 seconds long, uninterrupted and totally dazzling guitar solo by an young unknow NYC guitarrist called John Tropea ending in a abruptly, strong sexual way at 4:31.
No rock guitarrist compete here;
https://www.youtube.com/watch?v=f_ERoroBtHo

[S Clark]

To my ears on this seminal great sound quality recording standout two solos, the succinct and beautiful opening drums solo by the Panamanian William Emanuel Cobham aka Billy Cobhan and an electrifying 155 seconds long, uninterrupted and totally dazzling guitar solo by an young unknow NYC guitarrist called John Tropea ending in a abruptly, strong sexual way at 4:31.
No rock guitarrist compete here;
https://www.youtube.com/watch?v=f_ERoroBtHo

Youtube blocks the video in the US as a copyright violation. 

[FullRangeMan]

YT sucks, no more friendly to the user,
try Vimeo:
https://vimeo.com/90908755

[mresseguie]

Awesome thread, guys!

I am getting such an education. I hope I can someday contribute, but I'm a total newb in this thread.

Any point in seeking out vinyl for this recording, or stick with easily purchased CDs? I only ask because there are two pretty famous LP sellers in Taipei with vast selections of LPs. [Okay, they're vast to my small town guy eyes.] One store's got something like 30,000 LPs.

[HsvHeelFan]

okay,  how could this thread get to here, without the best part of the Dave Brubeck quartet being mentioned:

Mr. Paul Desmond

he was just masterful on the alto sax.  He's wasn't technically gifted like some of the others, but he sure knew where he was going, musically, in a solo.

I'll submit Take Five from the Brubeck Quartet at Carnegie Hall.  It's up-tempo compared to the normal versions of Take Five.

fyi,   Desmond is the composer of Take Five.  I wonder how many times he played that over the years?

HsvHeelFan

[PA]

https://www.youtube.com/watch?v=qWdLJ6-PeVo
This is one of my all time favorites.

by S. CLARK!

[Delacroix]

I've got a lot of great memories and stories from my jazz days. But I tend to keep audio separate from my jazz playing in the distant past. But I'll chime in when I have something that fits the topic. I'd like to share, no point keeping the stories secret anymore if they'll make someone smile like I do when I remember them.

Speaking of Blakey I did have a drink with him at the bar in a Dorchester, MA club,  before he went on. Just he and I sitting there on stools, I told him I played trumpet and wanted to be in his band. I was 15. He said he has a big surprise in store for me tonight. His new trumpet player, Wynton Marsalis, and I was gonna love him. I forgot the name immediately when he said it, couldn't really understand the weird syllables, it might as well have been alaskan eskimo or japanese. But the first time I heard the words Wynton Marsalis was from Art Blakey's lips to my ear. The Russian trumpeter Valerie Pornomorov had just been replaced by Wynton, so I just figured another unknown european trumpeter. But Wyn played a great show and I can say I saw him live before I ever knew who the hell he was. A couple weeks later his debut self titled record came out.   After a short chat I left Blakey to gather his thoughts alone. A few minutes later he walked past our table and told my Dad I've got a lot of balls and wished me luck with my career.

Later when I was around 18 I guess, I would drive down to NY from Boston to see the jazz messengers and hang out down in the basement of Sweet Basil club on W. 95th with the band. Blakey would sit down at a small table and all the band and manager and groupies and his coke dealer would be hanging around while he held court. I remember one time he was talking about his all time favorite trumpet players. Terrence Blanchard was sitting down with him asking questions and listening to every word while everybody else was circling in various orbits talking half listening. It seemed like this was common fare for them, and they were waiting to go back on, or whatever. Bu said he liked KD the best, and Hank and KD were his fav front line. Hank was the best at playing up tempo of any player he ever played with. Terrence, Toussant, Duck, Plax and I don't remember the piano, probably Bennie Green? After the show I walked out with the horns and stood while they all waited for a taxi in the snow at 3am to go back to their brooklyn apt. Just like kids at Berklee, samo samo jazz dudes, but becoming big stars. I often jammed with fellow Berzerkleeites Toussant and Duck in Boston less than a year before.  Watching Bu snort coke was an eye opener, since I didn't even drink. His dealer was all dressed up in cashmere and fur hat, way pimped out. It was no biggie to everyone else but they were all clean.

Twice I sat in with the Messengers at Sweet Basil. Both times Blakey was very particular to have a pep talk huddle with the guest players before the last set started. He told us this is a show, put on a good show, don't fuck around, don't showboat, have respect for the music and the crowd. It was pretty fun to feel him playing behind me as I had imagined and dreamed about for many years. 2 choruses of blues in F went by in a flash. The tune Byrdlike, maybe? Got a pretty good hand for 2AM, and a great memory. The 2nd time a drummer sat-in in Blakey's place, but it was still fun. Plaxico was always very kind and supportive, and so was Terrence.

Wow -- just wow -- what a great story. You played with Blakey....you lived the dream man! I think if i was invited up to play I wouldn't know whether to jam or run away. Richidoo -- don't keep this stuff separate, this is the Jazz circle, such experiences enrich all discussions of music or gear.

Patrick

[jimdgoulding]

Coltrane mesmerizes me on "Out of This World" from his Impulse album, "Coltrane".  Cannonball Adderly on Miles' "Kind of Blue", too.  Everybody on Andrew Hill's opening track on his "Point of Departure" album from Blue Note.

[richidoo]

okay,  how could this thread get to here, without the best part of the Dave Brubeck quartet being mentioned:

Mr. Paul Desmond

he was just masterful on the alto sax.  He's wasn't technically gifted like some of the others, but he sure knew where he was going, musically, in a solo.

+1 for Desmond. Take Five is a very hard song to play, not just for the time key in 5/4 but the key of E flat minor and the tricky bridge full of turnarounds.

Desmond was very technically skilled. He had a 9 foot Baldwin grand piano in his small NY apartment on which he practiced incessantly and worked out his ideas and sax drills and composed. Desmond's command of all keys was immense, on par with other hard core practizers like Bud, Brown, and Bird. They could improvise intensely musical melodies through any key at any speed, and they composed songs that deliberately took them to those challenging places. When he died, the Baldwin ended up at Bradlee's Bar in NY where the great NY pianists hung out every night and many recordings were made on it.

My favorite Desmond solo is "The Song is You" from album 'Jazz Goes to College.' That song is in C major (A major on alto) and goes to E major (C# major on alto, that's 7 sharps, the hardest key) in the bridge. The Bill Evans sax solo I mentioned above was also The Song is You. Desmond's solo is medium tempo, about 160bpm w/Dodge on brushes... the only macho fireworks on display are Desmond's ideas. It is an extreme example of his musical imagination, inspired connection to the source, deep harmonic understanding in using chromatics so effortlessly while staying 100% inside the keys, and his technical facility coming together in his inimitably humble way. Desmond plays only one A section of the melody before starting his solo, pretty risque for the time. Brubeck respectfully plays only a one chorus solo to end without a head.

PS - thanks Patrick

[FullRangeMan]

https://www.youtube.com/watch?v=qWdLJ6-PeVo
This is one of my all time favorites.

by S. CLARK!

Wow   very cool.