Wax Bits

Reprinted from http://jazzwax.com/
Used with permission by Marc Myers

Waxing & musings.
As jazz fans, we live in amazing times. Whatever period you enjoy, most of what you want is available online someplace as a download. Or it's easy to order. No matter how obscure, a quick Google search usually unearths the album or tracks.

Back in the 1970s, you had to walk the streets looking for the LPs you wanted. Many times what you were seeking wasn't in print. Or it was out of stock. Or if it was in stock, there was a high risk there was a defect. The most common flaw was that an album would be "warped." Meaning that when you put the record on, there was a wave in the vinyl that caused the needle to ride up and down when the imperfection came around. If the needle didn't leave the surface, you had distortion. If it did, you had a skip.

One double album that I bought in 1973 that suffered from this problem was Sonny Stitt's I Cover the Waterfront, a compilation of the saxophonist's Argo/Cadet material. The cover was absolutely gorgeous. It featured a photo of what appeared to be a commercial fishing vessel slipping silently through the water as viewed from between two large rocks. What made the photo by P.B. Kaplan so appealing was that it was taken with a red filter (or a red wash was applied afterward). The album was blood red, with yellow type. Genius art direction by Neil Terk.

The problem with the double LP was that the first of the two records had a skip halfway into How High the Moon. No matter how many times I exchanged the warped version for a new one, the same skip would be in the exact same place. So within the LP hunt process was another hunt—for a flawless version. I must have exchanged the album 10 times. At which point the Sam Goody store was wiped out of copies.

When I finally was confronted with the choice of exchanging it for something else, I hesitated. Looking longingly at the double album on the counter and listening to the clerk's fingers drum impatiently, I decided to give up and keep it, flaw and all. I loved the cover too much.

Point being that today it's so easy to get perfect recordings of whatever we want without ever getting up from the computer. Some people look back nostalgically at those days of the Great Vinyl Hunt. Not me. LPs were fine then but they were painfully inconvenient, since you had to get up from your chair to turn them over or take them off. They also had to be cleaned delicately with a solution and filed carefully on a shelf so you could find it again later. I'm one of those listeners who happen to love today's digital technology. I can write and listen without worrying about tending to the medium. But as I hold my 36-year-old copy of I Cover the Waterfront, I'm reminded how much I miss big colorful album covers and large-size liner notes.

Paul Desmond.
Doug Ramsey at Rifftides has a terrific post on alto saxophonist Paul Desmond's decision in 1974 to resume playing in a club setting. Doug includes a wonderful YouTube clip featuring a rare TV interview of Desmond on Canadian TV in 1976. Desmond's body language speaks volumes about his discomfort with television. Unfortunately, the interviewer didn't sufficiently warm him up and went too personal too fast, causing Desmond to nearly close down. It's fascinating stuff, especially if you've never heard Desmond speak. Go here > http://www.artsjournal.com/rifftides/2010/02/weekend_extra_desmond_speaks.html.



Bobby Shew.
After my interview series last week with trumpeter Bobby Shew, he sent along the following email. What a nice guy! "Thanks again. You can't believe how many people are emailing me about having read these installments. It looks as if my career is getting a re-start, thanks to you! I guess I'd better keep practicing!!" Bobby also sent along the following clip featuring a whimsical perspective on today's use of the English language.

George Avakian.
Wall Street Journal jazz writer Will Friedwald will conduct a conversation with legendary producer George Avakian [pictured] on Wednesday March 17th in New York. The event will take place at St. Peter's Church (619 Lexington Ave. at 54th St.) and start at 7:30 p.m. Admission is free.

http://www.jazzwax.com/2010/02/sundaywaxbits-3.html

Bobby Shew....

He then spent three years as the jazz trumpet soloist in the famed NORAD multi-service band. Shortly after leaving he joined the Tommy Dorsey Orchestra under the direction of Sam Donahue, which, among other things, gave him the chance to perform quite a bit with trumpet legend Charlie Shavers. After his stint with Tommy Dorsey, Bobby was asked to play with Woody Herman's band upon Bill Chase's recommendation. He then spent some time playing for Della Reese and Buddy Rich, who's big band had just been formed.

Many other similar situations followed and Bobby played lead trumpet for a number of pop stars. This brought Bobby to live in Las Vegas where he became prominent in various hotels and casinos. By this time Bobby was widely known for his strong lead playing rather than as a jazz soloist. So late in 1972 he decided to make a move to the Los Angeles area in order to get reinvolved in developing as a jazz player.
Once in Los Angeles, Bobby quickly found what he was looking for, and in the years to come he spent time with the groups of Art Pepper, Bud Shank, Horace Silver Quintet, and Frank Strazzeri-Sam Most, as well as numerous big bands such as Bill Holman, Louie Bellson, Toshiko Akiyoshi-Lew Tabackin, Oliver Nelson, Bill Berry, Nat Pierce-Frank Capp Juggernaut, Ed Shaughnessy, Terry Gibbs, Benny Goodman, Maynard Ferguson, Neal Hefti, Don Menza, and Bob Florence.

In addition to being a sideman, Bobby also became a leader around this time, recording many of his own albums. Several of these received very high accolades from critics and high placement on the airplay charts. One of his albums, 'Outstanding In His Field' was nominated for a Grammy in 1980, while, 'Heavy Company' was awarded the Jazz Album Of The Year in 1983.

During this time Bobby also found a great deal of studio work, including TV shows like 'Hawaii 5-O', 'Streets Of San Francisco', 'Bob Newhart', 'Mary Tyler Moore', 'Midnight Specials', 'Don Kirschner Rock Concert', 'Happy Days', 'Laverne And Shirley', and 'Eight Is Enough.' His work on soundtracks includes 'Grease I and II', 'Rocky I and II', 'Six-Pack', 'The Muppet Movie', 'The Drivers', and 'Taxi'.

Today, in addition to a busy performing and private teaching schedule, Bobby spends a considerable amount of time actively involved in the educational system, conducting clinics and master classes at high schools and college campuses all over the world. Bobby has also been active on the Board of Directors of the International Trumpet Guild, and has acted as National Trumpet Chairman for the International Association of Jazz Educator's for 16 years. He authors numerous articles of educational interest in various trade magazines, all translated into several languages for worldwide distribution. During a period of traveling to New Zealand, Bobby acted as host for a weekly TV show entitled 'Just Jazz' and has been in numerous artist-in-residence situations virtually all over the world. He has even had a few minor acting roles in movies and TV shows.

He continues to tour internationally and to produce and record excellent music. He has released several recent albums for the MAMA Foundation including Playing With Fire (w/Tom Harrell), Heavyweights (w/Carl Fontana), and Salsa Caliente. In addition, for other labels, Bobby has released the the highly regarded CD recorded with the The Metropole Orchestra, and a double-CD set for Seabreeze Records of The Music of John Harmon, plus other which can be seen on the Discography page.

Bobby Shew on the BBC, Pebble Mill At One. Sometime in the 80's