Daily Dose Of Jazz…
Rudolph “Rudy” Van Gelder was born on November 2, 1924 in Jersey City, New Jersey. His interest in microphones and electronics can be traced to a youthful enthusiasm for amateur radio. Named for his uncle who had been the drummer in Ted Lewis’s band in the mid-1930s, he took trumpet lessons and trained as an optometrist at the Pennsylvania College of Optometry, in Philadelphia, thinking he could not earn a living as a recording engineer.
From 1943, after graduating, Van Gelder had an optometry practice in Teaneck, New Jersey, and moonlighted recording local musicians in the evenings who wanted 78-rpm recordings of their work. From 1946, Van Gelder recorded in his parents’ house in Hackensack, New Jersey, in which a control room was built adjacent to the living room, which served as the musicians’ performing area. The dry acoustics of this working space were partly responsible for Van Gelder’s inimitable recording aesthetic.
Interested in improving the quality of the playback equipment he acquired everything that could play back audio: speakers, turntables and amplifiers. One of Rudy’s friends, baritone saxophonist Gil Mellé, introduced him to Alfred Lion, a producer for Blue Note Records, in 1953. Within a few years he was in demand by many other independent labels based around New York City, such as Bob Weinstock, owner of Prestige Records. To accommodate each label – Blue Note, Prestige, Savoy, Impulse, Verve he assigned them to different days as Lion was more stringent with the sound of original music, Weinstock had essentially blowing sessions for some of the best musicians in jazz history.He also engineered and mastered for the classical label Vox Records in the Fifties.
Van Gelder worked during the day as an optometrist until the summer of 1959, when he moved his operations to a larger studio in Englewood Cliffs, New Jersey and became a full-time recording engineer. The new studio’s design was inspired by the work of Frank Lloyd Wright had high ceilings and fine acoustics with “no food or drink and do not touch microphones” policy as he himself always wore gloves when handling equipment.
By 1967 the labels were beginning to utilize other engineers more regularly but Rudy remained active engineering nearly all of Creed Taylor’s CTI Records releases, a series of proto-smooth jazz albums that were financially successful, but not always well received by critics. He was not without his detractors. Despite his prominence in the industry, like Lion who didn’t care for the overuse of reverb, and Charles Mingus refused to work with him because he change the sound of his bass. He remastered the analog Blue Note recordings into 24-bit digital recordings in its RVG Edition series and also remasters of some of the Prestige albums, and was happy to see the LP go by the wayside because it was hard for him to get the sound the way he thought it should be.
He received awards and honors being named a fellow of the Audio Engineering Society (AES), received the society’s most prestigious award, the AES Gold Medal, named a Jazz Master by the National Endowment for the Arts, received the Grammy Trustees Award, and Thelonious Monk composed and recorded a tribute to Van Gelder titled Hackensack.
Producer and recording engineer Rudy Van Gelder, who specialized in jazz and regarded as the most important recording engineer of jazz by some observers, passed away at home in Englewood Cliffs, New Jersey on August 25, 2016. Among the several thousand jazz sessions he recorded are the acknowledged classics John Coltrane’s A Love Supreme, Miles Davis’s Walkin’, Herbie Hancock’s Maiden Voyage, Sonny Rollins’s Saxophone Colossus and Horace Silver’s Song for My Father.
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Daily Dose Of Jazz…
Chas Burchell was born Charles Burchell on October 30, 1925 in London, England. Originally a George Formby fan, he began learning the ukelele and then guitar, before hearing an Artie Shaw record that inspired him to take up the clarinet and play jazz.
Switching to alto saxophone, he started his own quintet in 1943. He tried the tenor saxophone before being drafted into the Royal Air Force, and then was transferred to the army in 1944. During the next three years he played in Greece with the British Divisional Band and following his discharge in 1947, worked in London with the Toni Antone Big Band.
By 1949 he gave up full-time musicianship and worked in a factory so that he would not have to perform music he did not like in order to make a living. A disciple of Lennie Tristano and a devoted admirer of Warne Marsh, Burchell continued to play part-time, leading his own quintet for more than 20 years, guesting with distinguished visitors such as Clark Terry, Emily Remler and Nathan Davis.
He recorded for Peter Ind’s Wave label and played with Ind in the group that backed Lennie Tristano’s only UK concert at Harrogate in 1968. Tenor saxophonist Chas Burchell, a supple, lyrical musician whose unpredictable twists and turns of phrase recall the style of his idol Marsh, died of a heart attack on June 3, 1986.
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Daily Dose Of Jazz…
Jimmy Woods was born on October 29, 1934 in St. Louis, Missouri. Woods began playing saxophone with Homer Carter’s R&B band in 1951, then served in the Air Force from 1952 to 1956. After being discharged honorably he played with Roy Milton and was with Horace Tapscott and Joe Gordon in the start of the Sixties. Following this he played and recorded two albums with Gerald Wilson and two with Chico Hamilton to the middle of the decade.
in the early 1960s Woods recorded two albums, Awakening and Conflict, both released on Contemporary Records. The second of these albums, Conflict, featured Elvin Jones, Harold Land, Carmell Jones, Andrew Hill, and George Tucker. During the decade he also performed and recorded with Teddy Edwards and Joe Gordon
Since the end of the Sixties not much has been heard from jazz alto saxophonist Jimmy Woods.
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Daily Dose Of Jazz…
Jesse Drakes was born October 22, 1924 in New York City. He hung out at Minton’s Playhouse in his youth and attended Juilliard in the 1940s. In the 1940s he played with Al Cooper’s Savoy Sultans, Sid Catlett, J.C. Heard, Edie Heywood, Deke Watson, and Sarah Vaughan. He worked extensively with Lester Young, the pair collaborated on and off between 1948 and 1956.
During this period Drakes played with Harry Belafonte, Gene Ammons, Sonny Stitt, Louie Bellson and Duke Ellington. By the late 1950s he was playing less jazz and more R&B music, touring with King Curtis and playing at the Motown studios in the 1960s. From 1969 he was based out of New York, leading dance ensembles and singing.
Trumpeter Jesse Drakes, who never recorded as a leader, was found dead in his apartment in New York City on May 1, 2010, so his actual date of death is therefore unknown.
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Daily Dose Of Jazz…
Don Elliott was born October 21, 1926 in Somerville, New Jersey and played mellophone in his high school band and played trumpet for an army band. After study at the University of Miami he added vibraphone to the list and recorded with Terry Gibbs and Buddy Rich before forming his own band.
From 1953 to 1960 he won the DownBeat readers poll several times for miscellaneous instrument-mellophone. Known as the “Human Instrument”, Don additionally performed jazz as a vocalist, trombonist, flugelhornist and percussionist. He pioneered the art of multitrack recording, composed countless prize-winning advertising jingles, prepared film scores, and built a thriving production company.
Elliott scored several Broadway productions including James Thurber’s The Beast in Me and A Thurber Carnival, in the latter of which he performed with his quartet. He also provided one of the voices for the novelty jazz duo the Nutty Squirrels. He lent his vocal talents to such motion picture soundtracks as The Getaway starring Steve McQueen, $ (Dollars) starring Warren Beatty, and The Hot Rock starring Robert Redford, as well as composing the score to The Happy Hooker starring Lynn Redgrave.
Elliott owned and operated one of the very first multitrack recording studios in New York City and in Weston, Connecticut and recorded over 60 albums and 5,000 advertising jingles throughout his career. A longtime associate of Quincy Jones, he contributed vocal work to many of Jones’ film scores. As sideman he performed and recorded with Phil Bodner, Miles Davis, Lee Konitz, Jackie McLean, Paul Desmond, Billy Taylor, Billy Eckstine, Bill Evans, Urbie Green, Michel Legrand, George Shearing, Marty Bell, Bob Corwin, Louis Bellson and Mundell Lowe among others.
Trumpeter, vibraphonist, vocalist, and mellophone player Don Elliott, whose recording Calypso Jazz is considered by some jazz enthusiasts to be one of the definitive calypso jazz albums, passed away of cancer on July 5, 1984 in Weston, Connecticut.
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