October 11, 1993 |
Alto saxophonist Lanny Morgan made an impression even before his first set at Vinnie's Ristorante began. With just a few warm-up lines while he waited for his band mates to settle in, Morgan demonstrated a firm, commanding tone and an agile way of working through long, complex phrases that were impressive despite the lack of context.
August 31, 1995 |
Vibraphonist Terry Gibbs, who plays a very visible role at the West Coast Jazz Party this holiday weekend, thinks he's discovered a winning similarity among those groups and individuals scheduled to play. "They all play toe-tappin' music," he explains in a phone call from Los Angeles. "Anybody who likes good, swingin' jazz is not going to be disappointed. It's not going to be like some of those festivals where you have one real jazz band followed by some fusion band or something like that.
CALIFORNIA | LOCAL
September 7, 2001 |
Jay Migliori, a charter member of the Grammy-winning group Supersax who played with everyone from Woody Herman to Frank Zappa in a career that spanned more than five decades, has died. He was 70. Migliori, a Mission Viejo resident, died Sunday of colon cancer. Migliori, a saxophonist who described his style of playing as "modern acoustic jazz with roots in bebop," was a working musician who seldom lacked for work.
June 25, 1998 |
There's nothing quite like having a grand mentor. And that's just what Jimmy McConnell got when Thad Jones encouraged him to start a big band. Trumpeter-arranger-composer McConnell and his wife, Sue Ann, were living in Kansas City when the band led by Jones--a fine modern jazz orchestral composer--and his partner, drummer Mel Lewis, came to town. They played the Fabulous Mark IV, a posh jazz club that the McConnells owned.
June 4, 1989 |
It's long been common knowledge in the music industry that big bands have had their day. They no longer sell records, so there is no point in recording them. Right? Well, not entirely. At least one exception to the rule has shown that somewhere out there is a healthy body of big band jazz fans looking for some action, at least on records. The man who has filled this need is Terry Gibbs, the veteran vibraphonist, survivor of the 52nd Street bop era, one-time Goodman and Herman and Buddy Rich sideman, musical director for Steve Allen since the 1960s.
August 27, 1999 |
Back in 1959, vibraphonist Terry Gibbs' Dream Band, which plays Labor Day weekend at the West Coast Jazz Party in Irvine, made an entry into Hollywood history. Gibbs, then a recent New York transplant, moved a big band into the Seville club on Santa Monica Boulevard and created a small sensation among Hollywood club hangers of the time. "There were no big bands left then," says the 74-year-old Gibbs. "Just Count Basie and some others. The music business had completely changed.
January 3, 1992 |
When saxophonists Med Flory and Lanny Morgan lead their quintet next week at Jax, they should hang a sign in front that reads "Be-Bop Spoken Here." The two, who primarily play alto saxophone, are starting a series of Wednesday night gigs at the Glendale establishment.
July 18, 1996 |
As the teeming, meandering hordes last Saturday night discovered, Ventura ArtWalk is growing up and spreading out. There was much to see, in terms of fine art, crafts and window dressings on the casual walking tour, but the aural component of the biannual event expanded as well.
June 29, 1992 |
"Hittin' and missin'." That's how trumpeter Lee Katzman, whose resume lists 1950s and '60s tenures with the big bands of Stan Kenton, Tommy Dorsey and Bill Holman and with small groups led by Shelly Manne, Sonny Stitt and Pepper Adams, describes his on-again, off-again career in the jazz trade. It looks as if Katzman, who names Dizzy Gillespie as his chief influence, is definitely in an "on" phase.
June 18, 1998 |
Near the beginning of their performance last Sunday at Chadney's in Burbank, Jack Sheldon and Ross Tompkins offered a tour de force version of "Blues in the Night," that illustrated the extraordinary nature of their partnership. Sheldon started with a bit of trumpet, then sang the poignant lyrics in his trademark tenor, which combines sandpaper with a few tears. Behind him, the playing of pianist Tompkins fit perfectly, as when he delivered rumbling train-like tones to match the lyrics.