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"My Brother, Don Sleet"
Last week I posted about star-crossed trumpeter Don Sleet [pictured] and his sole leadership album All Members. Within an hour after my post went up, a reader sent along an email suggesting that I alert Don's brother, David Sleet. So I sent along a note to the email address the reader provided. David responded shortly, saying ...
David Allyn: A Swing for Joey
Last week I came across a rather haunting and brief David Allyn vocal ballad called A Swing for Joey. It runs all of 32 measures, without a repeating chorus or a break for solos. Curious, I did a little research and found that the song was recorded only twice--both times by David. The first recording of ...
Interview: Ray Santos (Part 2)
For years, Latin-jazz has been ignored or unduly dismissed as repetitive novelty music by jazz fans who should know better. While Latin-jazz is certainly foreign to those who have little knowledge of or connection with the Latin experience in America, the music's tempos and syncopation remain exceptional and worthy of scholarship. Charlie Parker and Dizzy Gillespie ...
Interview: Ray Santos (Part 1)
As Latin-jazz legends go, saxophonist Ray Santos ranks high on the list. Few living Latin-jazz artists today can claim to have played in and arranged for the bands of Machito, Tito Puente and Tito Rodriguez. To give you an idea of what this trifecta means, it would be akin to a saxophonist playing in the Duke ...
Zoot Sims: Bossa Nova Sessions
Jazz saxophonists had a field day with the bossa nova in 1962. The jazz-Brazilian folk experiments first undertaken by alto saxophonist Bud Shank and guitarist Laurindo Almeida in the early and late 1950s became a winning formula for jazz in the spring of 1962. With Stan Getz and Charlie Byrd's Jazz Samba LP racing up the ...
Tom Talbert: Bix, Duke, Fats
I tend to avoid tribute albums. Barring a handful of gems, among them Louis Armstrong's salutes to Fats Waller and W.C. Handy, most miss the mark because they try too hard to one-up or mimic the subject of their adulation. One of the rare exceptions is Tom Talbert's Bix, Duke, Fats. Recorded in 1956 for Atlantic ...
Don Sleet: All Members
There are a number of highly talented jazz musicians from the late 1950s who can't really be called great because they recorded too few albums. In some cases these musicians never had an opportunity to record extensively. Or they came up too late and were trampled by the rock era in the mid-1960s. Or they succumbed ...
Interview: Lennie Niehaus (Part 5)
Lennie Niehaus has been writing music for major motion pictures since the early 1960s. And since 1984 he has worked on virtually every movie Clint Eastwood has appeared in and directed. These include Bird, Absolute Power, Space Cowboys, Bridges of Madison County, The Unforgiven and The Rookie and many others. In each case, Lennie was given ...
Interview: Lennie Niehaus (Part 4)
Lennie Niehaus' arrangements for Stan Kenton's band in the late 1950s and early 1960s are superb. So are his too-brief solos with the band. But if you really want to hear Lennie's musical genius at work, you have to dig his small-group recordings of the mid-1950s. Kenton, like many bandleaders in the LP era, was smart ...
Interview: Lennie Niehaus (Part 3)
Up until now, I've focused this interview series on Lennie Niehaus' biography. Today, I want to turn to the alto saxophonist's work with Stan Kenton's band between 1954 and 1961. Lennie's contribution to Kenton's uptempo and ballad output during this period both as a player and writer cannot be overestimated. In Lennie's hands, you hear the ...
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