One of a kind drum virtuoso Buddy Rich recorded a number of albums for RCA during the 70s. Their quality ranged from the very good (Rich In London), to average (A Different Drummer and Plays And Plays And Plays), to the truly dreadful (Speak No Evil). I would add Stick It, recorded in 1972, to the second group of ratings it's a good, but not great Rich offering. Certainly, it does contain a number of Rich's trademark, high energy, go for broke arrangements. Space Shuttle and Best Coast (featuring Pat LaBarbera's roaring soprano), along with Buddy's take on George Harrisson's Something ( highlighted by Lin Biviano's stratospheric trumpeting), are all standout tracks. Unfortunately, Buddy's other foray into the pop realm, Paul McCartney's Uncle Albert/Admiral Halsey, fares less well. Rich, accompanied by guitarist Walt Namuth, sings Bein' Green proving conclusively that he made the correct choice back in the 50s when he contemplated giving up the drums for a career as a vocalist! Sonically, I found this CD reissue to be an improvement over the original vinyl recording which tended to be "muddy" and bass-heavy. * * *
Buddy Rich, drums; Joe Romano, Brian Grivna, alto sax, flute; Pat LaBarbera, tenor, soprano sax, flute; Don Englert, tenor sax, flute; Richard Centalonza, baritone sax; Lin Biviano, Wayne Naus, Greg Hopkins, John DeFlon, trumpet; Eric Culver, Alan Kaplan, trombone; Bill Reichenbach, bass trombone; Walt Namuth, guitar; George McFetridge, piano; Joel Di Bartolo, bass.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.