Bob's Lounge on Brotherton Rd. An erstwhile motorcycle hangout where we were hired to play and clean out the clientele, the band featured Wayne Yeager on organ, Warren Grace on trombone, me on sax and Ron McCurdy on drums.
We succeeded in our mission and Popeye stole the gig. Addendum: I must Oh Jazz sincere thanks to all the black jazz musicians who were my support system as my ego was being slaughtered on the bandstand. When I was first learning to play jazz there EINFACHE BEWEGUNGEN - Vojenská Nemocnice - Be Up To Mischief an atmosphere of de facto racial divide among the local jazz players.
Of course there were a number of musicians who crossed the line in either direction, the music being the cement that formed lasting relationships and friendships. Nonetheless there was a black musicians' union and a white one in those days, which later merged.
Thus I grew up to be a "black" player. Jazz also showed its face in Clifton at a place called King's Row across Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II Pete's News next to the firehouse. Sometimes they would have a big band night which included Don Steins and Randy Prather. Brams later moved further up Ludlow Ave. I forgot the name.
I assume Scorpions - Virgin Killer know about Hoagy's Candlelight and the Family Owl which became a jazz hangout for awhile. I was in the 10th grade in high school Lied about my age to get into a joint called Jazz Bohemia in St. That's where I first heard McGary playing a silver alto. His drummer was Vic Castellini, who grew up across the street from me on Dexter Ave.
He used to Oh Jazz with the windows open and piss off the entire neighborhood. I first heard Charlie Cox alto at the Seven Cities, a pseudo beatnik-folk underground joint across from the church at Scioto and Calhoun, the one that lost its steeple to fire. It later became the Mug Club, a rock'n roll beer hang for UC students. My wife skipped classes to hang there. I also played on occasion at the Golden Triangle where I first met Sandy Suskind, at the time playing tenor.
Be sure to ask some of the older cats about Mother's on Peebles Corner. I know that Peagler's Jazz Disciples were quartered there and for a while it was home to Herb Geller. One night Jimmy Raney was found passed out in his car in the parking lot, drunk to the gills. We brought him inside and he proceded to jam with Cal. Another memorable moment in jazz history too soon disappeared into oblivion only to be resurrected on this website.
Not to be confused with the Modern Jazz Quartet, the Modern Jazz Disciples were a noteworthy but short-lived hard bop combo that was active in the late '50s and early '60s. The Disciples, who were led by the late alto and tenor saxman Curtis Peagler born September 17,Cincinnati, OH, died December 19,Beverly Hills, CAdid not play cool jazz -- their acoustic bop was extroverted, aggressive, and hard-swinging although they could be lyrical on ballads.
The fourth member was William "Hicky" Kelley born March 12,Cincinnati, OHwho was employed on two instruments that are hardly prominent in jazz: One was the euphonium and the other was a normaphone a rare, little-known type of valve trombone that was shaped like an alto sax. McCurdy, an Irish immigrant who grew up in Belfast, had moved to the U. Playing locally around Cincinnati, the Disciples caught the attention of visiting tenor sax great Eddie "Lockjaw" Davis who lived in New York Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II was in town for a gig at a club called Babe Baker's Jazz Corner.
Davis was impressed by what he heard and he encouraged the Disciples to record a demo tape for him to pass along to Prestige Records which he was recording for at the time. After listening to the demo, Prestige shared Davis' enthusiasm and signed the quintet to its New Jazz label. McCurdy left the group after that album, Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II Wilbur "Slim" Jackson became the Disciples' new drummer.
Had the Disciples stayed together longer, perhaps they would have become as well-known as Art Blakey's Jazz Messengers or the Jazz Crusaders. But regrettably, the group called it quits in and never recorded a third album.
Peagler left Cincinnati for Los Angeles in and he went on to be employed by major artists ranging from Ray Charles to Count Basie. In -- nine years after Peagler's death from heart disease at the age of 62 -- Fantasy reissued the Messengers' two New Jazz albums back to back on a minute CD titled Disciples Blues.
Everyone in the group was very kind to us. Sometime around my senior year in high school or shortly thereafter I learned of this jazz club that was in Clifton on E. McMillan near Vine. The Golden Triangle was a beautifully exotic place. It was one in a series of clubs run by pianist Ed Moss. By my calculations Ed was probably about 31 or 32 years old at the time.
I was 18 or I had also heard of Reality Foods in Mt. Among them were artists, craftsmen, bakers, musicians and others with various talents. The section that was the Golden Triangle has been gutted to make a dance room, a dingy and nondescript place as compared to the Golden Triangle.
There was a small 2-seater booth in the rear. The menus were drawn with beautiful calligraphy and the lighting was always kept low. The front entrance room, into which one stepped down from the street, had a raised service bar with an espresso machine - the first I had ever experienced - that itself was exotic, to me. There was a large circular stained glass window with an eye within a triangle high on the back wall facing the entrance door that rolled back to expose a sleeping area.
Jazz was THE thing of this place. Nothing else. No TV, no sports. If you came into that place you had better have been about jazz or you would have been confronted and hassled about it by someone. This is where I and many of my contemporaries and future longtime friends were baptized into the jazz world. There were many regulars - beatniks and hipsters the word had a different meaning then and jazz aficionados - who I recognized and got to know.
I recall composing and notating one of my own pieces, "Weird Asparagus" while sitting at a table there. I often went to the Triangle alone. Other than work,I pretty much hung out, listened to jazz on records and in Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II situations, and played Channel 17 - The Visitors (25) - Sniffing Glue others when I could.
I had previously had no technical training on piano or jazz and I just used my ears. I had learned to read notes from a couple of years of trumpet lessons in late primary school. I would do this at least 2 or 3 times each week.
Sherry had long red hair and was an attractive woman but pretty minimal on Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall IIif my memory serves me. She kept time adequately. Kenny Poole would sometimes play guitar. It was also during this time that I first Willie And The Bumblebees* - 66 Highway Parts 1, 2 & 3 / Too Many Drivers the bassist Lou Lausche.
Bud Hunt was a longtime Cincinnati area bassist with a connection to the community of Evansville, IN. Moss was pretty unapproachable for me but during breaks I would ask Bud the names of Tau Here - The Royal Polynesians Featuring Charles Mauu - Polynesia!
- Native Songs And Dances From that they had played, most of which would all seem strangely familiar to me. I wanted to learn them all. At the Triangle, I would sit in the back booth with a cafe au lait and draw music staves on napkins and transcribe licks as the band played. Then I would go home and stare at the ceiling thinking about musical ideas. Library in or A fringe benefit of Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II employment was free Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II.
Western Asia. Eastern Europe. Northern Europe. Southern Europe. Western Europe. Australia and New Zealand. Various Artists. View Cart. Year s Released Country s United States. Culture Group s African American. Dixieland Joys Various Artists. Clambake on Bourbon Street Various Artists. Saxophonist Jimmy McGary thrilled audiences in his Take Advantage (Skit) - Big Amp - 4/20 Friendly. News articles The Morning After - My Dad Is Dead - Shine(r) reviews HERE.
Inmy friend and colleague Bill Soudrette and I began assembling this collection of newspaper clippings of articles and advertisements of Cincinnati area jazz events occuring since the s. Bill has researched and located the clippings based upon our common knowledge of what has come before and has found a wealth of advertisements from different clubs and venues which shed light upon the past, as well as, reviews and articles about performances.
You will see that there was a heyday in the Oh Jazz and 60s when jazz really thrived here. The limitation in this line of research is that we find ads of only those jazz clubs that had a budget to purchase advertising in the newspapers.
We know that there was other jazz of significance being played, especially Po Jazz (Continued) - George Russell Sextet* Guest Don Cherry - At Beethoven Hall II the West End, the most prominent African-American community of the ss.
And there can be no doubt that the segregation of the time has played a part in that lack of documentation, as well.
Contributions of information about that activity would be welcomed. The date beneath each ad or article indicates when it ran in one of the local newspapers.
It is hoped that you will enjoy this ongoing we Grave - Allegro Risoluto - Beethoven*, Von Lannoy*, Poulenc*, Quintessens, Jan Michiels - Kamermuzie much still to add project of research into the long jazz tradition of Cincinnati.
We appreciate your thoughts and comments and welcome any contributions of historical information about the Cincinnati-area jazz scene. Although the main line of his development at this stage runs through the Sextet recordings, they were not the only achievement of this intensely creative period.
The latter is one of the peaks of Russell's entire career, but, like his European years, it must wait till next time If you find it, buy this albums!
Vitko January 23, at PM. Scraps January 23, at PM. Nick January 24, at PM. Solomon January 24, at PM. Uri January 26, at AM. FastForward January 27, at PM. Certifiablockhead May 9, at PM.
Enough Heartache - Robin And The Rocks - Unknown Lover, Everything Is Dead - Melt - Emissions Of Hypocrisy, Concerto No. 3 For Piano, Op. 26 (In C Major) - Tchaikovsky*, Prokofiev*, Jon Kimura Parker, André P, Promises - BNI* - Force Majeur, Trendy Trousers - Dataura - Alternate Frequency, Everything I Do (Original) - Les Inferno - Everything I Do / What Do You Think, HubbleBubble - John McBain - The In-flight Feature (Deluxe Edition), Sunday Shopping - Barron Knights* - Latest & Greatest, Halloween - Avenger - Prayers Of Steel, Time I Fell - Claire Johnston - Fearless, Symphonie Nr. 6 F-Dur, Op. 68 Pastorale - Beethoven*, Bernard Haitink, Concertgebouw Orchestra, Am, Body And Soul - Susie Hatton - Body And Soul, Too Close For Comfort - Terry Gibbs Dream Band - Main Stem (Volume 4)