Benny Golson Show

The Duplex Mystery Jazz Hour of 7.23.15 on WZBC.ORG, 90.3 featured Benny Golson, one of the most singular talents in jazz: tenor sax master, arranger and composer of some of the great jazz tunes: Stablemates, Whisper Not, I Remember Clifford...

Listen HERE.

PLAYLIST

Benny Golson Nonet "Whisper Not" from "Benny Golson's New York Scene" (Jazz, 1957) on Contemporary Records 

Benny Golson Quintet  "Something In B Flat" from "Benny Golson's New York Scene" (Jazz, 1957) on Contemporary Records 

Benny Golson Sextet "Step Lightly" from "The Modern Touch" (Jazz, 1957) on Riverside 

Benny Golson Sextet "Hymn To the Orient" from "The Modern Touch" (Jazz, 1957) on Riverside 

Art Blakey & The Jazz Messengers "Blues For Marcel" from "Des_Femmes_Disparaissent_(Soundtrack)" (Jazz, 1958) 

Benny Golson And The Philadelphians "Stablemates" from "Benny Golson And The Philadelphians" (Jazz, 1958) on United Artists 

Art Blakey and The Jazz Messengers "Along Came Betty" from "Moanin'" (Jazz, 1958) on Blue Note 

Art Farmer-Benny Golson Jazztet "Along came Betty" from "Another Git Together" (Jazz, 1962) on Mercury 

Benny Golson Quintet "A Bit of Heaven" from "Gone With Golson" (Jazz, 1959) on Prestige 

Benny Golson (solo) "You're My Thrill" from "Take A Number From 1 To 10" (Jazz, 1960) on ARGO 

Benny Golson (duo) "My Heart Belongs to Daddy" from "Take A Number From 1 To 10" (Jazz, 1960) on ARGO 

Benny Golson Quintet "Little Karin" from "Take A Number From 1 To 10" (Jazz, 1960) on ARGO 

The Jazztet "Farmer's Market" from "Jazztet at Birdhouse" (Jazz, 1961) on ARGO 

Annie Ross "Farmer's Market" from "Farmer" (1952) on Prestige 

The Jazztet and John Lewis "Milano" from "The Jazztet and John Lewis" (Jazz, 1961) on ARGO 

Benny Golson's Orchestra "You're Driving Me Crazy / Moten Swing" from "Pop+Jazz=Swing" (Jazz, 1962) on Audio Fidelity 

Benny Golson's Orchestra "Ornithology / How High The Moon" from "Pop+Jazz=Swing" (Jazz, 1962) on Audio Fidelity 

Art Farmer - Benny Golson Sextet "Killer Joe" from "Meet the Jazztet" (Jazz, 1960) on ARGO 

Manhattan Transfer "Killer Joe" from "Vocalese" (Jazz, 1985) on Atlantic 

Benny Golson Quartet "Mad About the Boy" from "Free" (Jazz, 1963) on ARGO 

Benny Golson And The International Jazz Orchestra "Stockholm Sojourn" from "Stockholm Sojourn" (Jazz, 1964) on Prestige 

Benny Golson Sextet "If I should Lose You" from "Just Jazz" (Jazz, 1962) on Audio Fidelity 

Dave Lambert-Pt. 2

Lambert at lower left

The Duplex Mystery Jazz Hour of Jan. 23 continued on to the last few years of vocalist/arranger Dave Lambert's career. The scatting that he and Hendricks do on "Airegin" is unsurpassed.

Here's the Program

Here's the Playlist:

Lambert Hendricks and Ross "Things Aint' What They Used to Be" from "Sings Ellington" (Jazz, 1960),  Columbia 

Lambert Hendricks and Ross "Midnight Indigo" from "Sings Ellington" (Jazz, 1961),  Columbia 

Dave Brubeck All Stars "Everybody's Coming" from "Real Ambassadors" (Jazz, 1961),  Columbia 

Dave Brubeck All Stars "Cultural Exchange" from "Real Ambassadors" (Jazz, 1961),  Columbia Lambert Hendricks and Ross "In A Mellotone" from "Sings Ellington" (Jazz, 1961),  Columbia 

Dave Brubeck All Stars "Swing Bells" from "Real Ambassadors" (Jazz, 1961),  Columbia 

Lambert Hendricks and Ross "Airegin (live)" (Jazz, 1961) 

Lambert, Hendricks and Bavan "Watermelon Man" from "At Newport '63" (Jazz, 1963),  RCA 

Lambert, Hendricks and Bavan "Nuthin for Nuthin" from "Havin a Ball" (Jazz, 1964),  RCA 

Lambert, Hendricks and Bavan "Deedle-Lee Deedle-Lum" from "At Newport '63" (Jazz, 1963), RCA 

Dave Lambert Singers "Think of Me"(Jazz, 1964) 

Dave Lambert Singers "Individualist Waltz" (Jazz, 1964) 

Dave Lambert Singers "Comfy Cozy" (Jazz, 1964) 

Dave Lambert "Donna Lee" (Jazz, 1965) 

Dave Lambert Music 1945-1962

On the last Duplex Mystery Jazz Hour on WZBC, I got through music from the early days of pioneering jazz vocalist Dave Lambert up through much of the Lambert, Hendricks and Ross material. On my next show, I'll cover the material he did as he approached his untimely death in 1966, but right now, here's two solid hours of scat and vocalese with Dave Lambert and confreres.

The Program:

The Playlist

 Dave Lambert with Gene Krupa "What's This"  (1945) on Columbia 

 Dave Lambert with Gene Krupa "I Should Care" (1945) on Columbia 

 Dave Lambert and Buddy Stewart w. Red Rodney's Beboppers "Gussie G." (1946) on Keynote 

 Dave Lambert and Buddy Stewart w. Red Rodney's Beboppers "Charge Account" (1946) on Keynote 

 Dave Lambert and Buddy Stewart "Hot Halavah"  (1948) on Sittin In With

 Dave Lambert and Buddy Stewart "In the Merry Land of Bop" (1948) on Mainstream 

 Dave Lambert and Buddy Stewart w. Allan Eager Sextet "Bopelbaby" (1948) on Sittin In With 

 Dave Lambert and Buddy Stewart w. Allan Eager Sexte "Bopelground" (1948) on Sittin In With 

 Dave Lambert Singers "Hawaiian War Dance" (1949) on Capital 

 Dave Lambert Singers "Always"  (1949) on Capital 

 Charlie Parker w. Dave Lambert "In The Still Of The Night" from "Charlie Parker with Voices"  (1953) on Verve 

 Charlie Parker w. Dave Lambert "Old Folks" "Charlie Parker with Voices" (1953) on Verve 

 Lambert, Hendricks & Ross "It's Sand, Man!" from "Sing a Song of Basie" (1957) on Impulse 

 Lambert, Hendricks & Ross "Two For The Blues" from "Sing a Song of Basie" (1957) on  Impulse 

 Lambert, Hendricks & Ross "One O'Clock Jump" from "Sing a Song of Basie" (1957) on  Impulse 

 Lambert, Hendricks & Ross "Little Pony" from "Little Pony" (1957) on Impulse 

 Lambert, Hendricks & Ross "Four" from "The Swingers" (1958) on Pacific Jazz 

 Lambert Hendricks & Ross "Now's the Time" from "The Swingers" (1958) on Pacific Jazz 

 Dave Lambert "Dark Cloud" from "Dark Cloud" (1958) on Pacific Jazz 

 Lambert Hendricks & Ross "Charleston Alley" from "Hottest New Group in Jazz" (1959) on  Columbia 

 Lambert Hendricks & Ross "Moanin'" from "Hottest New Group in Jazz" (1959) on Columbia 

 Lambert Hendricks & Ross "Twisted" from "Hottest New Group in Jazz" (1959) on Columbia 

 Lambert Hendricks & Ross "Bijou" from "Hottest New Group in Jazz" (1959) on Columbia 

 Lambert Hendricks & Ross "Cloudburst" from "Hottest New Group in Jazz" (1959) on Columbia 

 Lambert Hendricks & Ross "Jumpin At the Woodside" from "Sing Along With Basie" (1958) on  Emus 

 Lambert Hendricks & Ross "Goin to Chicago Blues" from "Sing Along With Basie" (1958) on  Emus 

 Lambert Hendricks & Ross "Tickle Toe" from "Sing Along With Basie" (1958) on Emus 

 Lambert Hendricks & Ross "Let Me See" from "Sing Along With Basie" (1958) on Emus 

 Lambert Hendricks & Ross "Every Tub" from "Sing Along With Basie" (1958) on Emus 

 Lambert Hendricks & Ross "Cottontail" from "Sing Ellington" (1960) on Columbia 

 Lambert Hendricks & Ross "All Too Soon" from "Sing Ellington" (1960) on Columbia 

 Lambert Hendricks & Ross "Happy Anatomy" from "Sing Ellington" (1960) on Columbia 

 Lambert Hendricks & Ross "Rocks in My Bed" from "Sing Ellington" (1960) on Columbia 

 Lambert Hendricks & Ross "Main Stem" from "Sing Ellington" (1960) on Columbia 

 Lambert Hendricks & Ross  "Centerpiece" from "Hottest New Group in Jazz" (1959) on  Columbia

Safety In Numbers-by Steve Provizer

The trigger for this was reading that today is Annie Ross' birthday. As far as I'm concerned (and it's a safe bet no one else is), there has never been a greater female 'parts' singer than Annie. Not just parts, but the vocalese solos she sang with Lambert and Hendricks. Fantastic range, intonation and phrasing. I never saw her live, but her recorded work isn't in the same league. There's a lot of ancillary reasons-inferior accompaniment and repertoire among them, but her voice was her voice and, in the end, she simply stopped compelling attention when she sang on her own. Jazz history is full of people who could arguably be put into that category. Does their work suddenly lose all merit when they step out and take on a heavier career burden? Of course not. But, ironically, their identities as musicians were the result of playing relationships with other, more "leader"-type musicians, or found within the safety of a larger ensemble. Here are some possibilities: A number of people away from Ellington-Webster, Cootie, Hodges, Cat Anderson; Basie people fared a bit better, I think (Did Herschel ever record on his own?); Junior Cook away from Horace Silver; some Mingus guys-Knepper, Curson, Hillyer; did Wynton Kelly ever sound as good as he did with Miles? Art Farmer worked less well without the Jazztet... For each, there's a different set of explanations for why they achieved some kind of synergy with a person or group and why moving away from that, to some degree, seemed to dissipate their musical power. I'm curious to see how the Royal Readership responds to those I've mentioned as well as its suggestions about others who fit this pattern.