Monday, June 28, 2010
Many "old school" Jazz drummers played a scaled-down drum kit which meant that they didn't use tom-toms or additional cymbals; nothing but a ride cymbal, snare drum, bass drum and hi-hat. To achieve a tom-tom effect, they turned off the snare drum strainer using a lever to separate it from the bottom of the snare drum. This set-up was the epitome of the Jazz drummer as time-keeper and colorist: setting the tempo, maintaining the time and shading the music, rhythmically.
No drummer ever played such a limited drum set better than Kenny Clarke who, along with Max Roach is considered to be the father of modern Jazz drumming. Kenny had the tightest "chang-a-dang" cymbal beat of any drummer I ever heard and it generated a heightened sense of propulsion. In the hands of any, other drummer, the 18" ride cymbal that he used to create this momentum sounded like a trash can cover. Go figure?
Technically, Kenny was a very limited drummer, but his ability to swing any size Jazz group was phenomenal.
You can hear Kenny's amazing abilities to perfection on this YouTube tribute to tenor saxophonist Frank Foster performing his original composition Gracias along with trombonist Benny Powell, pianist Gildo Mahones, and bassist Percy Heath.
As a point of interest, the "Latin" beat that Kenny Clarke initiates at 0:58 seconds is completely pseudo; an approximation and not at all authentic.
But then, Jazz is all about originality, isn't it? [I always wished that I could play a ride cymbal beat like Kenny Clarke's - a true original].
The tune on this tribute to tenor saxophonist Frank Foster is Gracias, an original composition that appears on his Here Comes Frank Foster Blue Note CD. He and Kenny Clarke are joined by Benny Powell on trombone, Gildo Mahones on piano and bassist Percy Heath.
Thursday, June 24, 2010
Phineas Newborn, Jr. [p], Paul Chambers [b], Philly Joe Jones [d], performing Clifford Brown's "Daahoud," 1961. This track is from Phineas' A World of Piano! [Original Jazz Classics OJCCD-175-2/Contemporary-S-7600]. Philly Joe trades eight-bar breaks with Phineas at 2:03 and 2:15 before beginning his own solo at 2:47. Checkout the big-band-styled "shout chorus" at 3:36 before Phineas comes back in to take the tune out at 4:02.
Steven Cerra, copyright protected; all rights reserved.
Sometimes I wonder if fans of Jazz who grew-up listening to the music in the 1940’s and 50’s realize how fortunate we are that so much of it has been re-issued in CD and Mp3 formats.
Since Jazz, in general, accounts for less than 5% of all recordings sold, it is amazing how much of it has been subsequently released in digital formats.
And yet, for a variety of reasons, more than occasionally we find that a favorite LP regrettably hasn’t been included in this transition.
One such album is Latin Escapade [Capitol T737] which features pianist George Shearing and his quintet. In addition to George, the quintet is made up of a guitarist, vibraphonist, bassist and drummer. Although these are all instruments that must be struck or plucked, George’s group has managed to achieve one of the more beautiful and easily identifiable sounds in Jazz.
The uniqueness of “the Shearing Sound” comes from the way the group states the melody of each tune. This is formed by Shearing playing blocked chords around the notes of the melody with each hand an octave apart and the vibes playing in unison up an octave from the piano’s right hand and the guitar playing in unison down and octave from the piano’s left hand.
When hearing "The Shearing Sound," essentially the listener is experiencing a melody that is harmonized into four-parts in which Shearing's upper melody note is doubled on vibes and the lower note is doubled on guitar.
You can hear this four octave span quite distinctly on every track of Latin Escapade.
The JazzProfiles editorial staff has developed YouTubes featuring four  tracks from Latin Escapade and embed them throughout this feature to enable a Shearing Sound sampling of the music from the album.
The first of these uses Cuban Travel Poster Art with the Shearing Quintet’s version of “Yours.”
Along with vibraphonist, Cal Tjader, who had occupied the vibes chair in George’s quintet before forming his own combo, Shearing was one of the earliest adapters of Latin rhythms in a small group setting. Many of his 1950’s album contained Latin Jazz tracks or were thematically based on Latin Jazz themes as was the case with Latin Escapade.
George developed such a deep interest in Latin rhythms that he went so far as to insert a segment in his club sets or concert performances that highlighted tunes with a Latin-flavor. During these Latin features, Shearing would augment his quintet with conga drums and timbales with the Jazz drummer in the group playing various Latin percussion instruments, thus creating the instrumentation for authentic Afro-Cuban rhythms.
Of course, George was always a very commercial-minded musician [in other words, he liked to eat regularly and pay his rent on time] and it certainly didn’t escape his attention that dancing to the [then, newly-introduced] Mambo rhythm was a craze that was sweeping the
in the 1950’s. US
Hence, the following Mambo with Me cut from Latin Escapade which serves as the audio track to this YouTube tribute to the Mambo:
The long-playing record provided Jazz groups with room to “stretch-out” [i.e.:take longer solos] and it was not uncommon for Jazz LP’s to have 2 or 3 tracks that produced 18-20 minutes of music per side.
During his career, Shearing did make some LP’s with fewer cuts per side, especially with the quintet in performance, but he made many more with the more commercial or popular music format of 12 tracks per LP.
Although Latin Escapade belongs in the latter category, its finely crafted and well-executed arrangements, while easy on the ear, are anything but commercial.
With none lasting longer than minutes, each of the album’s twelve tracks is a miniature musical masterpiece.
George is the only soloist and during his solos he reveals a thorough familiarity with Latin Jazz piano stylings; particularly the heavy use of riffs and “montuno” [repetitive refrains].
All of these qualities are reflected in this YouTube which uses vintage postcards of Cuba from the University of Miami’s collection and Mi Musica Es Para Ti [“My Music is For You”] from the album as its audio track.
George has always had an ear for pretty melodies. He can swing hard, too, but his affinity for appealing airs results in a healthy variety of ballads on all of his recordings. He always arranges his treatment of such tunes very artfully so as to further enhance their beauty and, in many cases, their romantic or alluring aura.
At a time in the 1950’s and 60’s when AM radio in Southern California still offered programs that specialized in “mood music,” it was not uncommon to hear a Shearing Sound ballad treatment during one of these late night broadcasts.
One such example of Shearing's charming way with a ballad can be found on his Latin Escapade interpretation of Ray Gilbert and Osvaldo Farres’ haunting Without You, the audio track to this You Tube commemorating The Shearing Sound.
Born in 1919, George Shearing is still with us although no longer performing. In 2007, he became Sir George Shearing when he was knighted by Her Royal Majesty, The Queen of England, for his services to music. Incidentally, I wonder if Sir George’s longevity is contagious as Latin Escapade guitarist Jean “Toots” Thielemans and vibraphonist Emil Richards are also still on board.
Over the years, in addition to leading his marvelous quintet, Sir George has performed with Nat King Cole, Peggy Lee, Mel Torme and a host of other vocalists. More recently, he has appeared in concert with guitarist and vocalist, John Pizzarelli.
In addition to the recordings that he has made with these artists, George has a substantial discography under his own name – none better than Latin Escapade .
After sampling the music on this album, we hope you will agree.
Saturday, June 19, 2010
In the JazzProfiles feature on Larry Bunker and Gary Burton, mention is made of Gary's revolutionary 4-mallet technique. Here's a YouTube produced by KPLU/Jazz 24 that offers a close-up of Gary's brilliant technique and musical sensibilities in action. The tune is O Grande Amor. The editorial staff would like to thank Jim Meikel in Coquille, OR for bringing this clip to our attention.
Friday, June 18, 2010
Steven Cerra, copyright protected; all rights reserved.
As a young man, I had the good fortune to study drums with the late Victor Feldman and the late Larry Bunker, both of whom were superb drummers, vibraphonists and percussionists.
During their busy careers, each worked in a variety of club, concert and studio contexts, mainly in the Hollywood-Greater Los Angeles area, although Victor is well-known for a road stint that he had with Cannonball Adderley’s Quintet and Larry achieved international fame for his year with pianist Bill Evans’ trio.
I became friends with each of them and socialized with them on occasion until Victor’s sudden and tragic death in 1987 at the age of 53. Thankfully, Larry was with us much longer having passed away in 2005 at the age of 77.
As he had envisioned it, Shelly Manne’s Jazz club – The Manne Hole in
– became a place where musicians congregated almost from its inception on Hollywood, CA November 4, 1960.
Much of this had to do with Shelly, himself; one would be hard-pressed to meet a nicer, warmer more affable human being. The atmosphere at the club was especially cordial to musicians, which was a good thing because there were nights during the earlier years of the club’s existence when musicians outnumbered patrons in the audience.
The location of The Manne Hole in what was then called "Mid-Movietown" on Cahuenga between Sunset and Hollywood Boulevards was also conducive to it becoming a gathering place for musicians.
One could easily walk to the club from Capitol Records on Vine Street or the NBC and RCA studios on Sunset Boulevard, and for musicians in general and drummers in particular, it was a 5-minute car ride from Local 47 of the American Federation of Musicians and Drum City and the Professional Drum Shop, all of which were located near or on Vine Street and Santa Monica Boulevard in Hollywood.
Additionally, Cahuenga Blvd. north of the club became an access road to the Hollywood Hills and Los Feliz areas and a service road that connected to the 101 Freeway West into the San Fernando Valley. Then, as now, many of
’s studio musicians lived in these areas and stopped off at Shelly’s to take in a set, have a beer and/or schmooze with one another on their way home. L.A.
In what has to be an act of supreme civility, the owner of the Union 76 gas station just down the street from The Manne Hole at the corner of Cahuenga Blvd. and Selma Street would close shop at 7:00 PM and go home to have dinner with his family.
With the first set at the club usually beginning around , one could generally park at the closed gas station free-of-charge!
Since I went to high school in
and Larry Bunker lived in the Los Feliz area, I often took Burbank, CA Barham Boulevard past Warner Brothers studios and over the to Larry’s place for a lesson, after which we’d sometimes head over to Shelly’s. [If I timed the traffic signals correctly, the trip could take about 10 minutes to reach Cahuenga Pass - those were the days!] Hollywood
One autumn night in 1962, Larry and I were at Shelly’s following my lesson when Victor Feldman walked into the club during a break between sets carrying under his arm a “Not-For-Sale-Promotional-Use-Copy” of drummer Joe Morello’s It’s About Time [RCA LPM-2486].
This was Joe’s first album under his own name and in addition to Phil Woods on alto saxophone, John Bunch on piano and Gene Cherico on bass, it featured a then relatively unknown 19-year vibraphonist named Gary Burton. It also contains six tracks of Joe playing in a big band setting arranged and conducted by Manny Albam.
Larry would later give me this promotional copy of the Morello album, which I still own, and you can sample its music by clicking on this You Tube.
What with Joe Morello’s prowess as a drummer, and his marvelous playing on this recording, you’d think that Victor, one of the greatest Jazz drummers ever, would be raving about Morello.
Instead, he swung the conversation over to Burton – whom neither Larry nor I had ever heard – and carried on about Gary’s playing until the next set was about to begin. Victor got up to leave, smiled knowingly, handed the album to Larry with words to the effect that he was really going to enjoy
’s approach to vibes. Burton
This passing remark turned out to be a complete understatement as the next time I got together with Larry, all he could talk about was
’s totally revolutionary approach to vibes. In addition to striking the vibraphone with the standard, two  mallets, Gary introduced the use of a four  mallet technique [2 in each hand] which enabled him to play “piano chords.” Burton
The result was a completely unique sound on the instrument, one that was almost mesmerizing upon first hearing.
Not surprisingly, in February, 1963, Larry and I sat in rapt attention as we listened to pianist George Shearing’s quintet in concert at the Santa Monica Civic Auditorium with none other than Gary Burton on vibes.
Of course, following the concert, I wanted to talk about drummer Vernell Fournier’s tasty brushwork; once again, all Larry could do was muse over
’s vibes playing in amazement. Gary
Somewhat inevitably, given Larry Bunker’s tenacious personality, a few months later, Larry and Gary formed their own quartet!
Leonard Feather explains how this came about and the mutual admiration and respect that Larry and Gary have for one another in the following liner notes to the group’s first recording – The Larry Bunker Quartet Featuring Gary Burton [Vault LP-9005]:
Click on this YouTube to hear the group perform composer Mike Gibbs’ Panther Pause from the album:
© -Leonard Feather, copyright protected; all rights reserved.
"The music presented on these sides brings back an episode in jazz history of which too many observers were totally unaware; an all too brief moment that might have been permanently lost had not Larry Bunker been astute and foresighted enough to preserve it on tape.
The reason for the existence of this quartet (and, ergo, of the album) is a friendship between Bunker and Gary Burton that dates back to 1963.
"We met at a summer music clinic in
” Bunker recalls. " Salt Lake City was there as a member of the George Shearing Quintet. We immediately found we had a great deal in common. Having worked extensively as a vibraphonist myself, I was greatly impressed by both his conception and his technique. At the time he was only 20 years old but had already been working as a professional musician for three years. Gary
"A few months later we got together in
. Los Angeles had left the Shearing group, but was writing some originals for an album George had planned. Gary
"This was during the time when Shelly's Manne Hole was using various local combos to fill in between engagements by the big name groups. We decided it would be a great idea to go in with a quartet.
"Mike Wofford was a young pianist I admired; I worked with him in a group with Shorty
Rogers at Shelly's around 1961. When Gary and I decided to form this quartet, Mike was still living in , but he came up to San Diego to make these gigs. L.A.
"Bob West was a young bassist who worked with Charles Lloyd and Sarah Vaughan. We'd played together before. So the whole thing fell into place, and we got a groove going."
The groove turned out to be so mutually stimulating that when their last couple of bookings were about to come up, Bunker decided to preserve the collaboration through a taped souvenir. He made arrangements with engineer Wally Heider to set up his equipment on the bandstand, got Bones Howe to oversee the operation, and was all set to go when history intervened: President
Kennedy was assassinated.
Since nobody was in the mood to play, the project was postponed, but finally Bunker's ambition became reality. The results constitute a unique milepost in Larry's dual career as a studio and jazz musician.
, Long Beach, Cal. Nov. 4, 1928, Larry entered music professionally in 1948 after completing two years of Army service. His first job, a new switch on an old tradition, was with a bebop combo on a riverboat. After gigging around Mississippi for a couple of years as a pianist, he picked up a working knowledge of vibes. During the 1950s he was constantly busy in a variety of jobs on vibes and/or drums, most notably with Howard Rumsey's Lighthouse All Stars, Gerry Mulligan, Art Pepper, Georgie Auld, and off and on for several years with Peggy Lee. California
During the 1960s, though constantly in demand for commercial TV and movie work, Bunker has taken time out as often as possible to reaffirm his ties with jazz. He played in
with Bud Shank, worked at the Monterey Festival with Dizzy Gillespie, and most memorably, he says, spent a rewarding year as drummer with the Bill Evans Trio. In 1965 he and Gary Burton were reunited when they toured Mexico City as members of the Stan Getz Quartet. (Stan recorded a live album with that group; at this writing it is still unreleased.) Japan
Speaking of Larry Bunker,
says: "We're the best of friends; we've played together a great deal through the past few years, and enjoyed all the musical experiences we've shared. I consider that my two best albums to date are The Time Machine and Something's Coming! It's no coincidence that these are the two LPs for which I had Larry fly to Gary to play with me. He contributed an awful lot to them. New York
"Most studio drummers are not the sort of musicians you would rank among the greatest, because of the nature of their work. In the studios, though, Larry works as a percussionist rather than a drummer, and I think his jazz playing has remained fresher as a consequence."
The material selected for inclusion here, drawn from a wide selection taped in the course of a full evening, and chosen because they were the most successful and most representative of the short-lived quartet, comprises three popular standards, one early jazz standard (Johnny Carisi's
) and three comparatively recent originals. Israel
An immediate and comprehensive view of the quartet's individual and collective abilities can be found in the opening track, I Love You. There is endless variety in Gary's six-chorus opening solo, moving from a thematic statement to a chorus accompanied solely by Bob West, a contrasting chorus with Bunker's firm and sensitive backing, and an indication that even at this early stage of his career Burton was setting into his three- and four-mallet technique with great success. The two choruses by West are clean, clear and pure. Wofford follows with a long, well-constructed performance, winding up with a couple of choruses in which he trades eights with Bunker.
Sweet Rain (recently used as the title of a Stan Getz LP) and Panther Pause are both original works by one of
's preferred composers, Mike Gibbs. Burton
"Mike is from
Southern Rhodesia," says , "but at present he lives in Gary . For a while he was in the England and I met him when we were both studying at the Berklee School of Music in United States . He was a trombonist originally, but has developed into a major creative talent as a writer. As a 'legit' composer he wrote a double woodwind quintet that won an award in a competition. He has continued to send me tunes, and I've recorded a couple on almost every album I've made." Boston
The attractive, moderate waltz that separate Gibbs' two tracks is an original by Phil Woods, a saxophonist of such renown that his talents as a composer are too often overlooked.
All The Things You Are achieves an overall feeling of rhythmic variety not unlike that of I Love You. My Foolish Heart is a two-chorus treatment of the standard pop song, the first played in a relatively orthodox melody style by
, the second no less sensitively delineated by Wofford. Gary
Summing up his feelings about the quartet, Larry Bunker recalls: "When I first heard
play, I couldn't believe my eyes or ears. He is a real virtuoso player—he's the Vladimir Horowitz of the vibes! With all due respect to the other great vibe men of the past, I feel that here is the criterion by which all physical achievements on this instrument will be judged in the years to come. I'm happy we were able to organize this group, if only briefly; and that we can present it to the public now as a record of an evolutionary stage in Gary 's career." Gary
When Gary signed his first recording deal with RCA he flew Larry to New York to be with on his Something’s Coming LP [RCA LSP2880] which also features Jim Hall on guitar and Chuck Israels on bass [whom Larry had just working with as part of pianist Bill Evans’ trio]. Producer George Avakian’s provides more details about the evolution of this album in the following liner notes.
© -George Avakian, copyright protected; all rights reserved.
“One of the delights in the jazz field-or any part of the entertainment world, for that matter-is watching the development of a talented young performer.
Gary Burton, an astonishing virtuoso of the vibraharp (as musicians refer to the instrument which the public knows best as the vibraphone), is a case in point. A child prodigy, he discovered jazz in his teens and embraced it eagerly; by the time he recorded his first solo album at eighteen, he had played in numerous groups around the country and taken his own combo to South America.
Early in 1963, Gary joined the George Shearing Quintet and toured the United States and Far East (where he found that Japanese jazz fans knew all about him from just two albums), until George broke up his group to take a much-needed rest in the fall of that year. At this point,
decided to stay in Gary and work with Larry Bunker, the drummer, who came East to make this album with him. Also on these recordings are bassist Chuck Israels, who had teamed with Larry in accompanying pianist Bill Evans in California a short time before, and Jim Hall, on guitar. (It almost seems that in any working combo over the past ten years that has achieved prominence and used a guitar, Jim has been the man - the original Chico Hamilton Quintet, the Jimmy Giuffre 3, the first edition of Sonny Rollins & Co., and the current Art Farmer-Jim Hall Quartet come most readily to mind.) With Hollywood , they form a musically homogeneous group that frequently rises to spectacular heights in meeting the demands of a musically stimulating program. Gary
By the time this album is released,
will be on his own, leading a group for the first time in the big leagues of music. As the album was made at a time when he was formulating plans for this important step, it seemed appropriate to call it something's coming! Gary
While two of the selections are designed primarily to let the boys have a chance to blow, as befits any high-spirited jazz album, the program also includes a fresh approach to playing two rhythms at once, a rather different variation on the blues, a fantastic free number, and re-conception of an already highly original composition. Even the ballad, Little Girl Blue, is singular in its lyricism and unexpected rhythm quality.
Green Dolphin Street As this "straight down" version attests, the men hit it off admirably even though they had never worked together as a unit.
Melanie was written especially for this album by Mike Gibbs, a fellow student with
at the Berklee School of Music. The piece juxtaposes two opposing characteristics in an unusual way: a slow 3/4 rhythm against a double-time 4/4. Both of these time signatures are stated by Larry Bunker in a remarkably skillful performance, his right hand playing the fast 4/4 on the large ride cymbal while he plays the slow 3/4 on the bass drum and high-hat cymbals. The dominant signature is the waltz, which is played by the other musicians. Gary
Careful. Continuing the unusual sound of the album, this Jim Hall composition is based on an extended blues form (sixteen bars rather than the customary twelve in the unexpected key of A). Jim's accompaniment work here and in the later Little Girl Blue is exceptional.
Six Improvisatory Sketches. The title of this Mike Gibbs composition refers to the six short phrases written for the vibraharp at the beginning of the performance. The guitar, bass and drum parts are totally improvised, as is the rest of the piece after the opening statement. Even the convention of a restatement is ignored; the piece simply stops as bassist
ends his solo. There is no set metric or harmonic form; the only pre-established factors are a steady 4/4 tempo and the basic tonality of B-flat as a departure point. Larry Bunker, an experienced studio musician who is at home with all the mallet and percussion instruments as well as being a fine jazz drummer, provides a creative and exciting background to the entire piece, and the group again displays exceptional cohesion and unity in rising to the challenge of the unusually free and open framework. Israels
Something's Coming. Nowhere in Leonard Bernstein's score for "West Side Story" is there a tune of an orthodox construction. This one is in an "A-A-B" pattern. Each phrase has an elongated structure, so
decided to extend it even further through the use of a free-time cadenza by guitar and vibraharp at the end of each major phrase. This device imparts a unique quality to the arrangement, which exploits the contrapuntal possibilities of guitar and vibraharp. Gary
Little Girl Blue. This lovely ballad has long been a favorite of
's, and it is heard here in its rarely-played original context-as a waltz. Gary
Summertime. Another free-blowing affair with extended solos by everyone. As in
Green Dolphin Street, Jim Hall is a standout.
In 1964 and 1965, Larry and Gary rejoined forces as part of the Stan Getz’s quartet that toured
Europe and Asia for a series of concerts. Steve Swallow was the bassist.
Wellington T. Choy, our friend in
put together the following information about how this group was formed and the Getz quartet’s performance on Auckland, New Zealand July 18, 1965 at Kosei Nenkin Kwaidan, in the Shinjuku district of Tokyo, . Japan
© -Wellington T. Choy, copyright protected; all rights reserved.
STAN GETZ QUARTET :
CONCERT Live at the Kosei Nenkin Kaikan, TOKYO Tokyo, Japan
Stan Getz tenor saxophone Steve Swallow bass
Gary Burton vibraphone Larry Bunker drums
Kosei Nenkin Kaikan,
Tokyo, Japan 18 July 1965
2 CHEGA DE SAUDADE
3 TONIGHT 1 SHALL SLEEP WITH A SMILE ON MY FACE
4 WALZ FOR A LOVELY WIFE
6 WHEN THE WORLD WAS YOUNG
ALL GOD'S CHILDREN GOT RHYTHM
8 LIKE SOMEONE IN LOVE
11 GRANDFATHER'S WALTZ
Add Carlos Lyra, guitar, vocal
12 CONTRA AMOUR
Total time : 73:36
Click on the following YouTube to listen to Con Alma from this concert:
“When guitarist Jimmy Raney decided to leave the Stan Getz band in late 1963, Stan had difficulty finding a pianist to go with the Quartet on a three week tour of
in January 1964. He was persuaded by Lou Levy, the pianist, who was not available, to audition young vibraphonist Gary Burton-who he then hired. It was some time before the new quartet found its musical feet, although Verve did record the new quartet in April and May 1964. The April performances were never issued, but the six May tracks, with Astrud Gilberto’s vocal later dubbed in, and were issued on Verve V6-8600. "Getz Au Go Go". Canada
In October 1964 a concert at Carnegie Hall, again with Astrud Gilberto was issued on Verve V6-8623, "Getz/Gilberto #2" but no further recordings by the Getz/Burton group were issued by Verve until 1994 when the company released "Nobody Else but Me" - Verve CD 5621 660-2. This was the group's studio session from
4 March 1964, recorded a few scant weeks after became a member of the Getz quartet. Burton
The group was also recorded in concert in
on Paris, France 13 November 1966, with Roy Haynes on drums in place of Larry Bunker. French Polydor/Verve issued eight tracks spread over three Lp's. In 2002 six of those tracks were issued on French Gitanes Jazz CD 517 049-2 "Stan Getz In Paris", together with a previously unissued Stan's Blues. But these albums have (so far) been the only commercial albums released of the Getz/Burton quartet. Gary Burton left the group to form his own quartet shortly after the 1966 European tour.
A number of unauthorized recordings have been made at various concerts of the group - but this recording is significant for several reasons. Firstly, the performance come from the mid-period in the life of the group, when it had really settled as a working band. Secondly, it is the first time (according to discographer Arne Astrup) that Getz performed both Sweet Rain and Con Alma and especially with this rendition of Con Alma the seeds of the magnificent performances of the two songs on Verve V6 8693 - Verve CD 815-054-2, "Sweet Rain" of March 1967, can be heard. And thirdly, for the most part the recording quality is very good.
Astrup notes that "parts of this very excellent concert was scheduled for release on Verve, but the album was never issued." One track, Waltz For A Lovely Wife, was issued on Italian Philology W 40.2 "Sweetie Pie" - an anthology of twelve 'pirate' Getz performances, but the Philology track is in less than ideal sound.
-W T Choy June 2002”
By the mid to late 1960’s [if not earlier], what
Michael Cuscuna of Mosaic Records describes as – “… the fertile time for jazz; [with] fresh, original ensembles taking shape all over the county” – was over.
After their relatively brief time together, the Bunker & Burton “Marching and Chowder Society” went their separate ways with Larry essentially becoming a lifelong studio musician with occasional forays into performance Jazz and
actively leading his own quartet on the Jazz concert circuit while making occasional special appearances and recordings with Chick Corea, among other. Gary
Larry and Gary's musical association certainly produced a wealth of great music which deserves either a first or a further listening to by Jazz fans, new and old.
Larry and Gary's musical association certainly produced a wealth of great music which deserves either a first or a further listening to by Jazz fans, new and old.