An excellent piece by Scott Yanow on jazz musicians in the Los Angeles area. We are HONORED to make this esteemed list! LOS ANGELES’ JAZZ LEGACY by Scott Yanow During the past 90 years, Los Angeles has carved out its own jazz legacy. The swing era was launched there in 1935 when Benny Goodman and his Orchestra became a surprise sensation at the Palomar Ballroom. Norman Granz began Jazz at the Philharmonic in Los Angeles in 1944. Central Avenue with its many clubs and vibrant nightlife was a competitor of New York’s 52nd Street and actually lasted much longer (ca. 1920-55). West Coast cool jazz made L.A. temporarily the center of jazz for part of the 1950s (although many New Yorkers would disagree). The busy Hollywood recording studios attracted technically skilled jazz musicians and top arrangers who gave Southern California an excess of talent for decades. And yet, like Rodney Dangerfield, L.A. just doesn’t get any respect. Maybe it is because of the warm weather (no one will ever freeze to death in Santa Monica), the beach or Hollywood, or maybe it is due to Angelenos’ laidback attitudes. In any case, this article discusses 40 reasons why Los Angeles can be proud of its jazz history. Each of these musicians spent an important part of their career in Los Angeles. In reality, the list could easily be tripled. It is especially painful to leave out such giants as trumpeters Art Farmer, Conte Candoli and Jack Sheldon, trombonist Frank Rosolino, saxophonists Jimmy Giuffre, Bud Shank, Bob Cooper and Don Menza, pianists Hampton Hawes and Russ Freeman, guitarist Barney Kessel and singer Janis Mann (who deserves to be discovered), not to mention the Jazz Crusaders and Supersax. However few would dispute the importance of these 40, who are discussed in roughly chronological and stylistic order. 1) Jelly Roll Morton (1890-1941) – The innovative pianist, composer and bandleader spent much of 1917-22 in L.A.,, a period when he decided to give up on his other careers (which included being a tailor, pool hustler, boxing promoter, hotel manager, comedian in traveling shows, gambling house manager and pimp) to become a fulltime musician. He helped introduce jazz to the West Coast before he first recorded in Chicago. 2) Kid Ory (1886-1973) – The early trombonist was in L.A. during 1919-24, leading the first recording session by a black New Orleans band in 1921 or ’22. He was also based out west with his Creole Jazz Band during part of the 1940s and ‘50s. 3) Curtis Mosby (1888-1957) – The drummer led his excellent jazz group, the Blue Blowers, in local clubs. They recorded in the late 1920s and appeared on screen playing a heated jazz number in 1929’s Hallelujah. 4) Paul Howard (1895-1980) – The tenor-saxophonist was the leader of Paul Howard’s Quality Sereanders, the hottest jazz band in L.A. during the late 1920s as can be heard on their 12 Victor recordings. The group included Lionel Hampton (on drums) and trombonist Lawrence Brown. 5) Les Hite (1903-62) – Hite took over Howard’s band in 1930. The Les Hite Orchestra, which made relatively few recordings, appeared briefly in many films in the 1930s, accompanied Louis Armstrong, and was a training ground for many up-and-coming musicians for a dozen years. 6) Lionel Hampton (1908-2002) – Before he joined Benny Goodman in 1936, Hampton was a busy drummer in L.A. with Paul Howard, Les Hite and his own orchestra (1934-36). In 1930 when Louis Armstrong recorded with Hite, he suggested that Hamp play vibes on two songs, making musical history. 7) Nat King Cole (1919-65) – Stranded in L.A. in 1937, the pianist soon formed the King Cole Trio, began to sing, made radio transcriptions, became a fixture on radio, and had hit records. He spent the rest of his life living in Los Angeles. 8) Stan Kenton (1911-79) – After spending the 1930s working with a variety of Southern California bands, Kenton formed his first orchestra in 1941 and built up a loyal audience and a challenging repertoire that summer playing at the Rendezvous Ballroom in Balboa Beach. Many of his sidemen became leaders in the 1950s cool jazz movement in L.A. 9) Benny Carter (1907-2003) – After 15 years of major accomplishments, Benny Carter moved to L.A. in 1943 where he was based during his last 60 years. Among other things, he was a pioneer among African-Americans who played and wrote for the studios. 10) Gerald Wilson (1918- ) – The last active jazz musician who recorded before 1940, arranger-bandleader Gerald Wilson has lived in L.A. since the mid-1940s, cheerfully leading his current orchestra since 1960. 11) Howard McGhee (1918-87) – Bebop arrived in L.A. when trumpeter McGhee arrived with Coleman Hawkins’ group in 1945. He played with Charlie Parker during Bird’s stay and went back East in 1947, having made a major impact on young musicians during his stay 12) Dexter Gordon (1923-90) – Born in L.A., the immortal tenor was a major part of the Central Avenue Scene during 1946-51, engaging in after-hours tenor battles with Wardell Gray and Teddy Edwards. 13) Teddy Edwards (1924-2003) – Los Angeles’ resident tenor great moved to Southern California by 1944 and never left for long. He played bop with Howard McGhee, jammed on Central Avenue and led bands for 50 years, always sounding like himself. 14) Lucky Thompson (1924-2005) – During 1946-49, the swing-to-bop tenor-saxophonist appeared on many rare but exciting small-group record dates in Los Angeles, helping to define the music of the era. 15) Ernie Andrews (1927 - ) – A bluesy swing singer, Ernie Andrews sang nightly in Central Avenue and has been a fixture in L.A. (except for his time with Harry James) for 65 years. 16) Buddy Collette (1921-2010) – In addition to his jazz playing on flute, tenor and clarinet and his work as an educator, Collette (who spent his life in L.A.) helped integrate both the recording studios and the Musicians Union. 17) Howard Rumsey (1917– ) - After coming off the road with Stan Kenton, in 1949 the bassist persuaded the owner of the Lighthouse Café to feature some jazz. The Lighthouse All-Stars resulted and the Lighthouse became legendary. 18) Gerry Mulligan (1927-96) – The baritonist only spent 1952-54 in Los Angeles but the success of his pianoless quartet with Chet Baker led to the wide popularity of Cool Jazz. Before he left town, he also led a quartet with valve trombonist Bob Brookmeyer. 19) Chet Baker (1929-88) – Baker’s mellow medium-register trumpet defined cool jazz in the 1950s. He was born in L.A. and was based there until the late 1950s. 20) Shorty Rogers (1924-94) – A fine cool-toned trumpeter and a significant arranger, composer and bandleader, Rogers’ knack for organizing high-quality record dates kept many top jazz musicians busy in the 1950s. 21) Shelly Manne (1920-84) – Not only was the drummer on a countless number of jazz, movie and studio sessions for decades and the leader of his own all-star quintet, he operated the nightclub Shelly’s Manne-Hole throughout the 1960s. 22) Art Pepper (1925-82) – Born and based near Los Angeles for much of his life, the altoist never seemed to play an uninspired chorus despite a remarkably erratic lifestyle. He did everything his way musically and had a historic comeback during his final seven years. 23) Dave Pell (1925- ) – Leader of the Dave Pell Octet, the definitive 1956-style band, the tenor-saxophonist is still active, joyfully sounding like 1950s Lester Young. 24) Chico Hamilton (1921-2013) – The quietly inventive drummer was born in L.A., played with many of the local groups in the 1940s, and in 1955 debuted the Chico Hamilton Quintet, a memorable cool jazz band with flutist Buddy Collette and the improvising cellist Fred Katz. 25) Charles Mingus (1922-79) – The bassist grew up in L.A where he, made his first record sessions for tiny local labels during the second half of the 1940s. Longtime residents Buddy Collette, trombonist Britt Woodman and bassist Red Callender helped guide his way. 26) Eric Dolphy (1928-64) – The unique altoist, bass clarinetist and flutist spent his formative years in L.A., playing with the big bands of Gerald Wilson and Roy Porter, meeting Mingus, and in 1958 leaving town when he joined the Chico Hamilton Quintet. 27) Ornette Coleman (1930- ) – The innovative altoist spent much of the 1950s in L.A., working as an elevator operator part of the time while teaching himself music. He met Don Cherry and Charlie Haden in L.A. and recorded his first two albums before causing a sensation at New York’s Five Spot. 28) Charlie Haden (1937-2014) – The bassist moved to L.A. in 1957, working with Hampton Hawes, Paul Bley and Art Pepper before officially joining the Ornette Coleman Quartet. What other bassist could have played so well with Ornette in 1959? Haden eventually returned to become an influential educator at Cal Arts. 29) Joe Pass (1929-94) – After conquering his personal problems, the guitarist moved to Los Angeles in 1962 where he recorded a series of gems for the Pacific Jazz label. His unaccompanied solo concerts and recordings of the 1970s made him forever famous in the jazz world. 30) Horace Tapscott (1934-99) – A very original and inventive pianist who ranged from hard bop to free jazz, Tapscott formed the Pan Afrikan Peoples Arkestra, working with and teaching a few generations of young L.A. musicians. He should have recorded more often. 31) John Carter (1929-1991) – An avant-garde clarinetist who spent much of his life teaching music in L.A., Carter often teamed up with cornetist Bobby Bradford. His crowning achievement was the five albums in his Roots And Folklore series. 32) Bobby Bradford (1934- ) – An adventurous cornetist with a mellow tone, Bradford worked with Ornette Coleman before settling in L.A. in the mid-1960s where his fairly melodic style contrasted with the more abrasive playing of John Carter. 33) Vinny Golia (1946- ) – Golia plays as many wind instruments as Anthony Braxton, has performed ambitious avant-garde projects since the 1970s, and runs the prolific Nine Winds label which has documented much of Los Angeles’ most adventurous music of the past 40 years. 34) Billy Higgins (1936-2001) – Born in Los Angeles, Higgins was on hundreds of sessions but will always be famous for his connection with Ornette Coleman. In 1989 he cofounded the World Stage, a musical cultural center in L.A. that has inspired and helped teach a countless number of youngsters about jazz. 35) Barbara Morrison (1949 - ) – A sassy, bluesy and often-jubilant singer, Barbara Morrison can sing both low-down blues and swinging standards as well as anyone alive. She has been in Los Angeles for 40 years, working constantly. 36) Bill Holman (1927 - ) – After his association with Stan Kenton in the 1950s, the superb arranger-composer settled in Los Angeles where he has led one of the major modern jazz big bands since the 1980s. 37) Pete Christlieb (1945 - ) – A top bop-oriented tenor-saxophonist with a huge sound, Christlieb has been in great demand for combos and swinging big band dates since the 1970s. 38) Carl Saunders (1942 - ) – Although he is arguably the top jazz trumpeter in town (at least until Arturo Sandoval recently moved to L.A.), Saunders is fairly obscure outside of Southern California. His wide range (he can hit very high notes softly, a rare skill), fluency and steady flow of ideas makes him an unheralded giant. 39) John Clayton (1952 - ) – Equally skilled as a virtuoso bassist and an arranger-composer, the always-smiling Clayton has an endless resume topped off by his co-leadership of the Clayton-Hamilton Orchestra which exclusively plays his arrangements. 40) Gordon Goodwin (1954 - ) – The arranger’s Big Phat Band, which puts on entertaining and witty shows, is proof that a modern jazz big band can fill up clubs with young fans without compromising its music.
Posted on: Thu, 09 Oct 2014 05:22:12 +0000
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