#Jerry Dodgion

[jazzdailyblog]

"Consummation": The Pinnacle of Brilliance in Thad Jones/Mel Lewis Jazz Orchestra's Legacy

Introduction: The year 1970 witnessed the birth of a musical masterpiece that would etch its place in the annals of jazz history – “Consummation” by the Thad Jones/Mel Lewis Jazz Orchestra. Released on the revered Blue Note Records and reissued in 2002, this album not only stands as a testament to the collaborative genius of Jones and Lewis but also serves as a pivotal moment in the evolution of…

[projazznet]

Hank Crawford – Don’t You Worry ‘Bout a Thing

Don’t You Worry ‘Bout a Thing is a soul-jazz album by saxophonist Hank Crawford, released in 1975 on Kudu Records. Hank Crawford – alto sax Jerry Dodgion – flute, tenor sax Joe Farrell – flute, tenor sax Pepper Adams – baritone sax Romeo Penque – baritone sax Jon Faddis – trumpet, flugelhorn Randy Brecker – trumpet, flugelhorn Alan Rubin – trumpet, flugelhorn Hugh McCracken – guitar Richard Tee – keyboards Bob James – keyboards, arranger, conductor Ron Carter – bass Gary King – bass Bernard Purdie – drums Idris Muhammad – drums Ralph MacDonald – percussion

[faithnfrivolity]

Like most so-called overnight successes, Vincent Anthony Guaraldi—(July 17, 1928 – February 6, 1976) who forever described himself as "a reformed boogie-woogie piano player"—worked hard for his big break.

The man eventually dubbed "Dr. Funk" by his compatriots was born in San Francisco on July 17, 1928; he graduated from Lincoln High School and then San Francisco State College. Guaraldi began performing while in college, haunting sessions at the Black Hawk and Jackson's Nook, sometimes with the Chubby Jackson / Bill Harris band, other times in combos with Sonny Criss and Bill Harris. He played weddings, high school concerts, and countless other small-potatoes gigs.

His first serious booking came at the Black Hawk, when he worked as an intermission pianist ... filling in for the legendary Art Tatum. "It was more than scary", Guaraldi later recalled. "I came close to giving up the instrument, and I wouldn't have been the first after working with Tatum". Guaraldi's first recorded work can be heard on "Vibratharpe", a 1953 release by the Cal Tjader. Guaraldi then avoided studios for the next few years, preferring to further hone his talents in the often unforgiving atmosphere of San Francisco's beatnik club scene. In 1955 he put together his own trio — longtime friend Eddie Duran on guitar, Dean Reilly on bass — and tackled North Beach's bohemian hungry i club. He also returned to studio work that year, making his recorded debut as group leader, although with different personnel: John Markham (drums), Eugene Wright (bass) and Jerry Dodgion (alto sax). What soon came to be recognized as the "Guaraldi sound", however, resulted from several recording sessions with his hungry i buddies. The original Vince Guaraldi Trio, with Duran and Reilly, can be heard on two releases: "The Vince Guaraldi Trio" (1956) and "A Flower is a Lonesome Thing" (1957)

The late 50s were a busy time. Aside from studio sessions with Conte Candoli (two albums), Frank Rosolino (one album), and Cal Tjader (at least ten albums), Guaraldi toured in 1956 with Woody Herman's third "Thundering Herd", replacing Nat Pierce on piano for one season. Not too much later, just after midnight during 1958's first annual Monterey Jazz Festival, some 6,000 rabid but by now quite tired jazz fans came to their feet when The Cal Tjader Quintet blew them away.

Thanks in no small part to the "sound of surprise" from the feisty Guaraldi, whose extended blues riffs literally had the crowd screaming for more, Tjader's quintet received an enthusiastic standing ovation.

National prominence was just around the corner. Inspired by the 1959 French/Portuguese film "Black Orpheus", Guaraldi hit the studio with a new trio — Monte Budwig on bass, Colin Bailey on drums — and recorded his own interpretations of Antonio Carlos Jobim's haunting soundtrack music. The 1962 album was called "Jazz Impression of Black Orpheus", and "Samba de Orpheus" was the first selection released as a single. Combing the album for a suitable B-side number, Guaraldi's producers finally ghettoized a modest original composition titled "Cast Your Fate to the Wind".

Fortunately, some enterprising Sacramento, California DJs turned the single over...

...and the rest is history.

"Cast Your Fate to the Wind" became a Gold Record winner and earned the 1963 Grammy as Best Instrumental Jazz Composition. It was constantly demanded during Guaraldi's club engagements, and suddenly jazz fans couldn't get enough of him. He responded with several albums during 1963 and '64, perhaps the most important of which was "Vince Guaraldi, Bola Sete, and Friends", with Fred Marshall (bass), Jerry Granelli (drums) and Brazilian guitarist Bola Sete. That marked the first of several collaborations with Sete, a musical collaboration whose whole was greater than the sum of its already quite talented parts.

Guaraldi was also a recognized fixture on television, if only in the greater San Francisco region. He and jazz critic Ralph Gleason documented the success of "Cast Your Fate to the Wind" in the three-part "Anatomy of a Hit", produced for San Francisco's KQED; later, shortly after his first album with Sete, Guaraldi did a "Jazz Casual" TV show for the same network

The most prestigious task, however, was yet to come. Even before Duke Ellington played San Francisco's Grace Cathedral, that venerable institution's Reverend Charles Gompertz selected Guaraldi to write a modern jazz setting for the choral Eucharist. The composer labored18 months with his trio and a 68-voice choir, and the result is an impressive blend of Latin influences, waltz tempos, and traditional jazz "supper music". It was performed live on May 21, 1965, and the album became another popular and critical hit. Clearly, if Vince Guaraldi could write music for God, he could pen tunes for Charlie Brown.

The jazz pianist's association with Charles Schulz's creations actually had begun the year before, when Guaraldi was hired to score the first Peanuts television special, adocumentary called "A Boy Named Charlie Brown" (not to be confused with the big-screen feature of the same title). The show brought together four remarkable talents: Schulz, writer/producer/director Lee Mendelson, artist Bill Melendez and Guaraldi.

Guaraldi's smooth trio compositions — piano, bass and drums — perfectly balanced Charlie Brown's kid-sized universe. Sprightly, puckish, and just as swiftly somber and poignant, these gentle jazz riffs established musical trademarks which, to this day, still prompt smiles of recognition.

They reflected the whimsical personality of a man affectionately known as a "pixie", an image Guaraldi did not discourage. He'd wear funny hats, wild mustaches, and display hairstyles from buzzed crewcuts to rock-star shags.

Unfortunately, with an irony that seemed appropriate for a documentary about Charlie Brown, Mendelson never was able to sell the show, which remains unseen to this day by the general public. Fortunately, the unaired program became an expensive calling-card that attracted a sponsor (Coca-Cola) intrigued by the notion of a Peanuts Christmas TV special. Thus, when "A Charlie Brown Christmas" debuted in December 1965, it did more than reunite Schulz, Mendelson, Melendez and Guaraldi, all of whom quickly turned the Peanuts franchise into a television institution. That first special also shot Guaraldi to greater fame, and he became irreplaceably welded to all subsequent Peanuts shows. Many of his earliest Peanuts tunes — "Linus and Lucy", "Red Baron" and "Great Pumpkin Waltz", among others — became signature themes that turned up in later specials.

Guaraldi became so busy that the ensuing decade saw only half a dozen album releases, three of them direct results of his Peanuts work: "A Boy Named Charlie Brown", "A Charlie Brown Christmas" and "Oh, Good Grief!" At some point between his switch from the Fantasy label to Warner Brothers, Guaraldi took the time to produce and direct an album that has become quite obscure: 1968's "Vince Guaraldi with the San Francisco Boys Chorus", released on his own D&D label. This was followed by two Warners releases: "The Eclectic Vince Guaraldi", which marks Guaraldi's recorded vocal debut; and "Alma-Ville", which showcases a Guaraldi guitar solo on one cut. On February 6, 1976, while waiting in a motel room between sets at Menlo Park's Butterfield's nightclub, Guaraldi died of a sudden heart-attack. He was only 47 years old.

A few weeks later, on March 16, "It's Arbor Day, Charlie Brown" debuted on television. It was the 15th, and last, Peanuts television special to boast Guaraldi's original music. He had just finished recording his portion of the soundtrack on the very afternoon of the day he died.

Time ... passed.

Those who followed in Guaraldi's Peanuts-themed footsteps — Ed Bogas, Desiree Goyette, Judy Munsen and others — found the shoes impossible to fill. Not one produced a song or theme anywhere near as catchy as the Master, and several of the specials from the late 1970s and '80s consequently lacked a certain zip.

A whopping three decades later, no doubt responding to unceasing pleas from fans who had played Guaraldi's three Peanuts albums to death — and wondered what had become of the themes and background music in all those other television specials — Fantasy released 1998's "Charlie Brown's Holiday Hits". The CD included nine previously unissued tracks, from the theme to "A Charlie Brown Thanksgiving" to a vocal rendition of "Oh, Good Grief", performed by Lee Mendelson's son's sixth-grade class.Four years later, in the summer of 2003, Vince Guaraldi's son, David, teamed up with Bluebird Records to release "The Charlie Brown Suite". The centerpiece selection, long spoken of in reverential tones by fans who only knew of it but never had heard it, is the fully orchestrated "Charlie Brown Suite", recorded live on May 18, 1969, during a benefit performance with Amici Della Musica (Richard Williams, conductor) at Mr. D's, a theater/restaurant in San Francisco's North Beach region. This awesome piece of music clocks in at roughly 40 minutes and skillfully weaves half a dozen songs into an integrated whole: "Linus and Lucy", "The Great Pumpkin Waltz", "Peppermint Patty", "Oh, Good Grief", "Rain, Rain, Go Away" and "Red Baron".

Encouraged by the enthusiastic response to this new compilation of his father's previously unreleased recordings, David Guaraldi has big plans for the upcoming years ... and this Web site is the place to get up-to-the-minute information.

"I don't think I'm a great piano player", Vince Guaraldi once said, "but I would like to have people like me, to play pretty tunes and reach the audience. And I hope some of those tunes will become standards. I want to write standards, not just hits". He got his wish.

Windham Hill recording artist George Winston has been playing "Linus and Lucy" for years, during his concert appearances. A promise to record it and other Guaraldi cuts finally bore fruit in the autumn of 1996, with the release of Winston's "Linus & Lucy: TheMusic of Vince Guaraldi".

"Linus and Lucy" also has been interpreted by Wynton Marsalis, Dave Brubeck and David Benoit; the latter has become Guaraldi's ongoing torch-bearer in the most recent Peanuts animated TV specials. GRP Records had a smash hit back in 1990, with their soundtrack to the television special "Happy Anniversary Charlie Brown", which gathered numerous jazz luminaries for their interpretations of classic Guaraldi compositions, along with some new cuts clearly inspired by Dr. Funk's Peanuts themes.

"Christmas Time is Here" has become a seasonal fixture, and pretty much everybody of consequence has covered "Cast Your Fate to the Wind".

Let's fade with the words of Jon Hendricks, poet laureate of jazz, who once wrote:

"Vince is what you call a piano player. That's different from a pianist. A pianist can play anything you can put in front of him. A piano player can play anything before you can put it in front of him."

Source: Derrick Bang, All About Jazz

[radiomaxmusic]

Tuesday, April 23, 2024: 8pm ET: Feature LP: Herbie Hancock - Speak Like A Child (1968)

Speak Like a Child, the sixth album by American jazz pianist Herbie Hancock, which was recorded and released by Blue Note Records in October 1968, features Hancock’s arrangements for an unusual front line of Jerry Dodgion on alto flute, Peter Phillips on bass trombone, and Thad Jones on flugelhorn. Critic Nat Hentoff described the album as an “impressive further stage in the evolution of Herbie…

[sheetmusiclibrarypdf]

Bill Evans - Symbiosis (1974) Ein Meisterstück

Table of Contents

Bill Evans - Symbiosis (1974) Ein Meisterstück

Bill Evans - Symbiosis (1974) 1st Mov.

https://youtu.be/JwXESGNG3Mc

Symbiosis, 2nd Movement: Largo - Andante - Maestoso - Largo, Pt.1

https://www.youtube.com/watch?v=Mp7p_ZGKPfA Released on: 2017-10-27 Artist: Bill Evans Composer: Claus Ogerman 1st Movement (Moderato, Various Tempi) - 24:58 Track 1 (a) 7:58 Track 2 (b) 5:17 Track 3 (c) 11:43 2nd Movement (Largo- Andante - Maestoso - Largo) - 15:55 Track 4 (a) 9:11 Track 5 (b) 6:44

PERSONNEL Piano - Bill Evans Composed By, Arranged By, Conductor - Claus Ogerman Concertmaster - David Nadien Bass - Eddie Gomez Bassoon - Wally Kane Clarinet, Clarinet - Danny Bank , Ron Janelly Congas - Ralph McDonald Contrabassoon - Donald MacCourt Drums - Marty Morell Flute - Bill Slapin , Don Hammond , Hubert Laws French Horn - Al Richmond , Brooks Tillotson , Earl Chapin , James Buffington , Pete Gordon (2) , Ray Alonge Oboe - George Marge , Phil Bodner Percussion - Dave Carey , Doug Allen , George Devens Saxophone - Harvey Estrin , Jerry Dodgion , Phil Woods , Walt Levinsky Trombone - Paul Faulise , Tommy Mitchell Trombone - Urbie Green Trumpet - Bernie Glow , Johnny Frosk , Marky Markowitz, Marvin Stamm , Mel Davis , Victor Paz Tuba - Don Butterfield.

Bill Evans - Symbiosis

Der legendäre Jazzpianist Bill Evans wird meistens als „Trio“-Spieler angesehen, da die meisten seiner Alben Klavier/Bass/Schlagzeug waren, mit gelegentlichen Solo- oder Duo-Alben. Aber er hat ein paar ausgewählte Alben mit Orchestern aufgenommen, und das macht SYMBIOSIS zu einem besonderen und einzigartigen Eintrag in Evans' riesigem Katalog. Es wurde 1974 aufgenommen und 1994 erstmals auf CD veröffentlicht. Außerdem enthalten diese Alben keine Standards oder Originale von Evans – das Titelstück ist eine mehrteilige Suite, komponiert, arrangiert und dirigiert von Claus Ogerman (der unter anderem auch mit Stan Getz und Frank Sinatra zusammengearbeitet hat).

Das Album durchläuft die stilistische Bandbreite: Es gibt Momente von Philip Glass-ähnlichem Minimalismus (!), Big-Band-Passagen mit Samba-Geschmack, Echos russischer Komponisten des frühen 20 Filmmusik. Hindurch, Evans, der zwischen akustischen und elektrischen Klavieren wechselt, schimmert und tritt mit seinen einfallsreichen lyrischen Soli auf. Nicht dein „typisches“ Bill Evans-Album – aber das macht SYMBIOSIS zu einem so feinen, sanft herausfordernden Hörerlebnis. ---Rovi Read the full article

[jazzplusplus]

The Joy of Sax (2003) - Skyline Waltz

Jerry Dodgion (as), Brad Leali (as), Frank Wess (ts), Dan Block (ts), Jay Brandford (bs), Mike LeDonne (p), Dennis Irwin (b), Joe Farnsworth (dr)

[mostlymonk]

Blue Monk

David Amram Quartet

David Amram – french horn & piano Jerry Dodgion – sax Victor Venegas – bass Tony Cruz – percussion

[nycsax]

A great thing about living in NYC - can’t even go down to the corner to pick up a pizza without running into a legend! Top: Blue Lou Marini. Bottom: Jerry Dodgion.

[incarnationsf]

Date & Time: Saturday June 22, 7:30  p.m. Venue: Incarnation Episcopal Church, 1750 29th Avenue, San Francisco Tickets: $20 General, $15 Seniors/Students

Eventbrite Ticketing:     Buy tickets online

Ben Rosenblum Jazz Trio

Ben Rosenblum – piano/accordion Greg Feingold – bass Ben Zweig – drum

Award-winning jazz pianist, composer and accordionist Ben Rosenblum has been described as “mature beyond his years,” (Jon Neudorf, Sea of Tranquility), and as an “impressive talent” (C. Michael Bailey, All About Jazz), who “caresses [the music] with the reverence it merits” (Bob Doerschuk, Downbeat Magazine). Ben is based primarily in New York City, and is a graduate of the Columbia-Juilliard program (in 2016). His original music combines his extensive knowledge of the history of jazz with a free-wheeling, modern melodic sensibility and powerful narrative approach to the piano. His profound passion for jazz, swing and world music genres finds expression in his unique fusion of harmonic and rhythmic elements from a wide array of sources, and gives rise to a signature compositional sound and style at once iconoclastic and deeply rooted in such figures as Bill Evans and Wynton Kelly. Ben’s first priority in his composition and in his playing is always narrative – to tell a compelling story with his music, while reaching the hearts of his audience, connecting on an emotional, an intellectual and a spiritual level.

Reviewers of his debut album Instead – released in 2017 with bassist Curtis Lundy and drummer Billy Hart – have been impressed by his musicality and his tasteful playing in light of his immense technical skill. Bob Doerschuk of Downbeat Magazine gave the album four stars, and wrote, “He has the chops to shoot off a few fireworks, … but that doesn’t seem to be a priority when covering sacred material.” C. Michael Bailey notes approvingly: “there do emerge conservatoire aces with grit in their imagination and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener.” Fred Stal of RG Magazine most recently described his experience of listening to Ben’s live CD release performance: “The music keeps you on your feet and not wanting to miss a single moment of magic. … Raindrops from heaven poured down with style and grace from Rosenblum’s piano.”

Since the release of Ben’s debut album, Ben has been touring regularly – both nationally and internationally – celebrating the album and collaborating with artists around the world. Ben’s trio made debuts in Japan and in Canada in 2018. During his two-week tour of Japan, Ben performed in eight different cities, including in Tokyo at Akasaka B-flat, and in Yokohama at Himawari-no-sato Concert Hall with famed koto player Yuko Watanabe. Highlights of his Canada tour included appearances at Upstairs Jazz in Montreal, Maelstrom and Bar Ste-Angele in Quebec City and the Southminster “Doors Open For Music” Concert Series in Ottawa. In the United States, Ben has traveled extensively throughout the Northeast, Midwest and West Coast, with trips planned for the South and Southwest. These domestic tours have featured performances at some of the most well-respected venues in the country, including Kuumbwa Jazz Center (Santa Cruz), Ravinia (Chicago), Cliff Bells (Detroit), An Die Musik (Baltimore), The Bop Stop (Cleveland), Mezzrow (New York City) and many others. As a sideman, Ben has had further opportunities to tour the world. In 2018, he traveled for three weeks through Croatia, Slovenia, Italy and Serbia with Astrid Kuljanic, during which the group performed at multiple festivals, including the Ljeto na Bundeka Festival in Zagreb and the Soboško Poletje Festival in Murska Sobota. He also performed for two nights at the Blue Note in Beijing alongside famed jazz singer Deborah Davis.

Born and raised in New York City, Ben had the opportunity to study with some of the most influential figures in jazz piano, including Frank Kimbrough, Bruce Barth, Ben Waltzer and Roy Assaf. At the early age of sixteen, the originality of his work was already being recognized with numerous awards, including the ASCAP Young Jazz Composers Award (2010), the Downbeat Student Music Award for Best Original Song (2010) and the Downbeat Student Music Award for Best Arrangement (2011). As a result, even before entering Columbia, Ben was commissioned by the XIBUS World Orchestra to write a piece for performance at New England Conservatory’s Jordan Hall in 2012. Ben has continued to earn numerous distinctions and honors in recent years. In 2015, he was a finalist at the American Jazz Pianist Competition in Melbourne, Florida, and in 2016, at the Jacksonville Jazz Piano Competition in Jacksonville, Florida. In 2018, he earned further recognition from the ASCAP Young Jazz Composers Award competition in the form of an honorable mention, and he was featured at the ASCAP Foundation’s 2018 “We Write The Songs” event at the Library of Congress in Washington D.C.

In addition to his own work, Ben often collaborates with other musicians. He has worked extensively with Grammy-nominated singer Ryland Angel on several compositional projects, including the project Unspoken, which premiered at the Weisman Art Museum in Minneapolis, in November of 2016. His debut album Instead has received very favorable reviews from a wide range of sources throughout the world, including Downbeat Magazine, All About Jazz, Drumset Magazine (Italy) and The Jazz Writer (Germany).

Ben performed with the Bachiana Brasileira Orchestra at Lincoln Center (conducted by Joao Carlos Martins and featuring Dave Brubeck), and he was a featured soloist at Carnegie Hall’s Stern Auditorium with the New York Harmonic Band (conducted by Reona Ito). He traveled to New Delhi, India, to perform at a Max India Benefit, and was a participant at Il Grande Veggio, in Perugia, Italy. He has played at the Masten Jazz Festival (Buffalo), the Richmond Jazz Festival (Richmond), the Mid-Atlantic Jazz Festival (Maryland), Lincoln Center Out of Doors Festival (Manhattan), the DUMBO Arts Festival (Brooklyn), Musikfest (Bethlehem, PA) and the Music Mountain Festival (Connecticut). He has also appeared at Dizzy’s Club Coca-Cola, the Appel Room at Lincoln Center, Ryles Jazz Club, Webster Hall, Symphony Space, The Blue Note, Smoke, Smalls and a host of other music venues throughout the northeast.

Ben has worked extensively with such jazz luminaries as Curtis Lundy, Neal Smith, Winard Harper, Wayne Escoffery and Deborah Davis, and he has performed in bands led by Bobby Watson, TS Monk, Chris Washburne and Warren Wolf. In addition, he has shared the stage with many other jazz legends, including Wycliffe Gordon, Brian Lynch, Phil Woods, Houston Person, Jerry Dodgion, Eliot Zigmund, Clarence Penn, Craig Handy, Dave Stryker, James Cammack, Ameen Saleem, Bob Nieske, Steve Nelson, Yasushi Nakamura, Essiet Essiet, Willie Williams, Patience Higgins, Josh Evans, Kenny Davis and Rogerio Boccato.?

While at Columbia University, Ben founded the Columbia Jazz House, a student-run jazz advocacy group that promotes jazz on campus through concerts, educational workshops and jam sessions. On December 28th, 2015, the Columbia Jazz House was featured in a New York Times article titled “Melodies Night and Day in this Columbia Dorm.”

Greg Feingold started playing bass at the age of 10. He quickly realized that bass was something he would pursue for the rest of his life and was accepted to the Chicago Academy for the Arts. After graduating from the Academy, Greg was given a scholarship to attend Berklee College of Music. Greg was very active both locally and nationally while at Berklee. He began playing with the International String Trio and performing regularly with Berklee faculty such as Bill Pierce, Neal Smith, Jon Hazilla, Doug Johnson, Rebecca Cline and many others. After graduating, Greg moved to New York and began playing in Winard Harper’s Jelli Posse. Throughout his stay in New York, he worked with legendary jazz performers such as Jimmy Cobb, Eric Reed, Eric Harland, Cyrus Chestnut, Steve Turre, Jim Rotondi, Jackie Ryan, Stephen Scott as well as continuing to tour with the International String Trio and the Valinor Quartet. Greg moved to Seattle in 2015 to change his surroundings and currently performs with a variety of groups around the west coast. He can be seen performing regularly with Thomas Marriott, Julian MacDonough, Miles Black and other great local Seattle musicians. He also co-leads the 200 Trio which performs around the country as one of the up and coming jazz guitar trios.

Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler). After moving to NYC in 2011, the 26 year old has accompanied an impressive array of jazz luminaries, including; Randy Weston, Johnny O’Neal, Larry Ridley, David Williams, Roy Hargrove, Deborah Davis, Joe Cohn, Champian Fulton, Jerry Dodgion, and Steve Nelson. Described by downbeat as “especially crisp and articulate,” Zweig has presented his personal sound performed with tours throughout the continental US, Asia and Canada. He currently tours regularly with Ben Rosenblum’s trio and leads a bi-weekly residency hosting the Sunday late night jam sessions at Smalls Jazz Club in NYC. Zweig is an avid educator. He has taught clinics across the country with the Champian Fulton quartet and has also directed the after-school percussion program at WHEELS middle and high school. Mentored by master drummers such as Joe Farnsworth, Billy Hart, Kenny Washington, Rodney Green, Justin DiCioccio, Christopher Brown, John Riley, and Rogerio Boccato, Ben is committed to passing down the information he has received from these legends. In his formative education, Ben was classically trained by Kenneth Piascik, culminating in performances with the NAfME All-Eastern Orchestra and as principal percussionist with the MENC All-National Concert Band. He currently maintains a private drum studio in Morningside-Heights with students of all ages. Ben received his B.M. and a M.M. from the Manhattan School of Music.

[garudabluffs]

Concepts In Blue · J.J. Johnson The J.J. Johnson Memorial Album ℗ 2003 Fantasy, Inc. Released on: 2007-04-17 Composer  Lyricist: J.J. Johnson

Released on: 1965-09-12 Trumpet: Thaddeus J. Jones Trumpet: Ernest Royal Piano: Hank Jones Bass: Melbourne Cranshaw Drums: Tate Grady Alto  Saxophone, Flute: Jerry Dodgion Tenor  Saxophone, Arranger, Composer: Oliver Nelson Flute, Saxophone: Ray Beckenstein Trombone: James Cleveland Trombone: Tony Studd

Stolen Moments · Frank Zappa Broadway The Hard Way ℗ 1988

[projazznet]

Donald Byrd – Electric Byrd

Electric Byrd is a jazz fusion album by Donald Byrd released by the Blue Note label in 1970. Donald Byrd – trumpet Jerry Dodgion – alto sax, soprano sax, and flute Frank Foster – tenor sax and alto clarinet Lew Tabackin – tenor sax and flute Pepper Adams – baritone sax and clarinet Bill Campbell – trombone Hermeto Pascoal – flute Wally Richardson – guitar Duke Pearson – electric piano Ron Carter – bass Mickey Roker – drums Airto Moreira – percussion

[bamboomusiclist]

8/27  Impressions / the Versatile abcs668  等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Chet Baker / in Milan jlp918s Barney Kessel / the Poll Winners C3535 Hank Mobley / Quartet blp5066 George Cordoba / Shades of Django ex303 Don Rendell Martial Solal / Kenton Sidemen Lae12028 Harry Edison / Swings Buck Clayton mgv8293 Ray Brown / Bass Hit Mgv8022 Charlie Mariano Jerry Dodgion / Beauties of 1918 wp1245 Bill Evans / Trio 64 v8578 Rita Moreno / Sings Sl1039 Kisa Magnusson / Blues Eyes Rhlp1204 Herbie Hancock / Feets don’t Fail Me Now jc35764 Milt Jackson / Big Mouth 2310-867 Isley Brothers / the Heat is On pz33536 Leroy Hutson / the Man Crs8020 Impressions / the Versatile abcs668 Ovations /  Hooked on a Feeling som7001 Esg / Esg Says Dance To The Beat Of Moody 99-10ep Hilary / Kinetic bsr36004 Il Volo / Essere O Non Essere 27 209 OT

~bamboo music~ https://bamboo-music.net  info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

[tatsuyasato]

今日のImadomare 24/01/2022(mon) 朝は暖かい南風で、パン屋さんへ歩いて行った時は　半袖で十分だったのに 午後は　少し肌寒くなってきた今帰仁村今泊です。 今日の試作、 ズッキーニ＆きのこのパスタ。 あまりこの味付け　好きではないんですが バター醤油にて 今日の音は Charlie Mariano & Jerry Dodgion sextet / Beauties of 1918 両者アルトで吹き方もフレーズも似ているので 僕にはライナーを見ない限り　どっちが吹いているのかわからない。 それにしてもジャケットが怖い！ 左の女の子は何故か足を持ってるし 右下の女の子は白目だし・・・・。 そんなジャケとは裏腹に　音は爽やか。 特に Till we meet again は良いですねえ。 https://youtu.be/iKQnOQ9H2pU ２月３日木曜日まで臨時休業とさせていただきます。 おちゃ と おさけ と ごはん。Imadomare（いまどまーれ�� 沖縄県国頭郡今帰仁村今泊3007　　電話0980436708 【Imadomareってこんな店】 沖縄県今帰仁村にある世界遺産「今帰仁城」から下る道、　 国道505を跨ぐとそこは古き良き沖縄の原風景が広がる今泊集落があります。 沖縄の伝統的な古民家が立ち並び、フクギ並木の小径が異空間に皆様をお誘いします。 少し曲がりくねった道を過ぎると　視界が広がり　東シナ海を望む浜に突き当たります。 そんな集落にポツンと佇む　古民家Lunch&Cafe&Dinner SAKABA Imadomare。 築６０年近い古民家の内装をおしゃれに再生させた店内は、 美味しい空気と美味しい空間をご提供いたします。 プチプチっと音がするJazzや島唄の美味しいレコードを聴きながら 美味しいワインや泡　地元の泡盛古里やORIONをグビリとやりながら、 ほぼほぼ　やんばる産のお肉やお野菜を使ったお料理をお楽しみいただきます。 何もないけれど　美味しい「のんびり」がここにはあります。 #今泊 #今帰仁村 #imadomare #いまどまーれ #居酒屋 #カフェ #今帰仁村ランチ #今帰仁村カフェ #古民家カフェ #沖縄古民家 #今帰仁村ごはん #今帰仁カフェ #今帰仁ランチ (おちゃ と おさけ と ごはん。Imadomare（いまどまーれ）) https://www.instagram.com/p/CZGhu5XP1CS/?utm_medium=tumblr

[themaninthegreenshirt]

Herbie Hancock, Speak Like a Child [Rec. March 6th & 9th 1968] Blue Note

Herbie Hancock — piano Ron Carter — bass Mickey Roker — drums Jerry Dodgion — alto flute Thad Jones — flugelhorn Peter Phillips — bass trombone

[jazzplusplus]

The Joy of Sax (2003) - Thadeus

Jerry Dodgion (as), Brad Leali (as), Frank Wess (ts), Dan Block (ts), Jay Brandford (bs), Mike LeDonne (p), Dennis Irwin (b), Joe Farnsworth (dr)

[riffsstrides]

Heads Up! - Blue Mitchell (1968)

Heads Up, finds Mitchell in front of a large group with tunes and arrangements by Pearson, Heath, and Melba Liston. Once again, the charts and talented crew make way for a highly memorable album that should have garnered much more attention than it did upon release.

Blue Mitchell, Burt Collins - trumpet

Jerry Dodgion - flute, alto saxophone

Junior Cook - tenor saxophone

Pepper Adams - baritone saxophone

Julian Priester - trombone

McCoy Tyner - piano

Gene Taylor - bass

Al Foster - drums

Jimmy Heath (1-2), Melba Liston (5), Duke Pearson (4, 6), Don Pickett (4) - arrangement