April 30, 1986 |
The promotion of jazz will be the main thrust of the National Academy of Jazz. "We're like the Country Music Assn., here simply for the betterment of our art form," said KKGO disc jockey and academy board member Chuck Niles. Plans for the academy were revealed Monday at an informal press reception and jazz performance in the Silver Screen Room at the Hyatt Hotel on the Sunset Strip.
January 26, 1988 |
Veteran Dizzy Gillespie watchers have long since learned what to expect, and what not to expect, in any of his concerts: plenty of patter from the paterfamilias of bop, but enough incomparable trumpet creativity to make it all worthwhile. True, at El Camino College on Saturday, he still "introduced" the men in his quintet (to one another --a tired gag that no longer draws much of a laugh).
March 19, 2001 |
Conte Candoli and Pete Candoli, trumpet-playing brothers, have been jazz stars since the '40s. But there was no sign of musical wear and tear in their set at Charlie O's Friday night, delivered to an enthusiastic, packed-house crowd. Over the years, Conte--at 73, four years younger than his brother--has been primarily identified as an improvising artist, while Pete has been much admired for his dependable work as a lead trumpeter.
February 12, 1987 |
Loa's, the Southland's newest jazz club and restaurant, opened Tuesday evening. It was one of those celebrity-heavy, television-covered first nights best summed up in three words: Quincy was there. Not surprising, perhaps, for both Quincy Jones and Ray Brown, who is musical director at the Loa, are old jazz pals and fellow alumni of the Dizzy Gillespie orchestra.
July 19, 1998
The Billy Higgins Quartet was swinging an updated arrangement of the old Nat "King" Cole standard "Nature Boy" when singer Dwight Trible took the stage.
August 23, 1985 |
Disorganization almost scuttled the International Jazz Hall of Fame's second induction and awards ceremony. Some musicians from the Count Basie and Woody Herman orchestras refused to play Wednesday night when their paychecks were not available by 8 p.m, the scheduled start time of the charity event at downtown Kansas City's Music Hall. "No pay, no play," said the manager for Woody Herman, one of several jazz greats inducted into the Hall of Fame Wednesday night.
August 16, 1991 |
The Ambassador Foundation is another cultural institution that--like the Los Angeles Music Center and New York's Lincoln Center--is significantly expanding its jazz presentations. The nonprofit, Pasadena-based foundation, which offers mostly classical music artists at 1,300-seat Ambassador Auditorium during its September-to-June season, is spotlighting jazz for its first-ever summer event.
January 7, 1993 |
The passing of Dizzy Gillespie will no doubt be characterized as marking the end of an era. Actually, it's more than that. By the time he reached the final decade of his life, Gillespie had become the most honored, the most respected, the most universally praised musician--not merely of the bebop era of which he had long been a symbol, but in the entire history of jazz. The music world knew him as a nonpareil trumpet virtuoso.
CALIFORNIA | LOCAL
June 15, 2013 |
Sam Most, a pioneering jazz flutist who performed with a stylistically diverse range of artists, including Tommy Dorsey, Donald Byrd, Herbie Mann and Charles Mingus, died Thursday at the Kaiser Permanente Medical Center in Woodland Hills. He was 82. Most had cancer, said his brother, Bernard. Jazz historian Leonard Feather once called Most "probably the first great jazz flutist," who began his career playing with Dorsey. "Though his sound may not be 'legitimate' by orthodox standards," Feather wrote in the Los Angeles Times in 1978, "he is a rhythmically engaging performer whose peppery, witty style may take hold of a set of chord changes and never let go for a half-dozen beautifully constructed choruses.
September 25, 1993 |
Slide Hampton and his 13-piece JazzMasters orchestra presented a Dizzy Gillespie tribute at the Orange County Performing Arts Center that Diz himself would have appreciated. A good sampling of Gillespie's music was slicked up with new, often involved arrangements and played by a host of New York's best journeymen musicians, including several who had worked with Gillespie in his later years.