Daily Dose Of Jazz…
Herman “Trigger” Alpert was born on September 3, 1916 in Indianapolis, Indiana. Attending Indiana University, he studied the bass and soon after was playing with guitarist Alvino Rey in New York City. In the early 1940s he toured with the Glenn Miller band and his enthusiastic playing style can be witnessed during a 1941 performance of In The Mood in Sun Valley Serenade.
During the rest of the decade, he worked with Louis Armstrong, Roy Eldridge, Ella Fitzgerald, Bud Freeman, Woody Herman, Jerry Jerome, Bernie Leighton, Ray McKinley, Frank Sinatra, and Muggsy Spanier. In the 1950s and early 1960s, he recorded as a sideman with Don Elliott, Coleman Hawkins, Gene Krupa, Mundell Lowe, Buddy Rich, Artie Shaw, and the Sauter-Finegan Orchestra.
Until the late 1960s, Trigger was a member of the CBS Orchestra and the CBS band for the television series the Garry Moore Show with Carol Burnett and the Barbra Streisand television specials My Name Is Barbra and Color Me Barbra.
Alpert wrote two instructional books: Walking the Bass in 1958 and the Electric Bass in 1968. He recorded a single album as a leader titled Trigger Happy on the Riverside label in 1956.
Retiring from music in 1970, he made his longtime interest in portrait photography a full-time profession. Bassist Trigger Alpert passed away on December 21, 2013 at an assisted living facility in Jacksonville Beach, Florida.
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Daily Dose Of Jazz…
Bob Bates was born on September 1, 1923 in Pocatello, Idaho. His mother was an organist and his brothers Norman and Jim were also bassists. As a youth he played tuba, trumpet, and trombone. From 1944 to 1948 he studied classical bass and played with Sonny Dunham around 1946–47 and with Jack Fina in the late Forties.
The 1950s saw Bob playing in the Two Beaux & a Peep Trio before becoming the bassist in the Dave Brubeck Quartet between 1953 and 1955. In addition, he recorded with Paul Desmond in 1954, and Dave Pell in 1956. It was during this time that he stopped playing and performing. Bassist Bob Bates passed away on September 13, 1981 in San Francisco, California at the age of 58.
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Daily Dose Of Jazz…
Gilbert Rovère was born on August 29, 1939, Toulon, France and attended the Conservatory of Nice studying the double bass. He becme one of the most in-demand musicians in France in the Sixties.
He appeared and/or recorded with Bud Powell, Dexter Gordon, René Thomas, Jean-Luc Ponty, Barney Wilen, Al Haig, and Steve Grossman among others. For several years during his career Rovère was a member of the Martial Solal Trio with Daniel Humair.
Bibi was hired by Duke Ellington to play a Paris recording session with the orchestra and Alice Babs in 1963. He also hired him the following year to play with one of Duke’s small groups on the Italian Riviera.
Bassist Gilbert ‘Bibi’ Rovère, who received the Prix Django Reinhardt award in 1967, passed away from cancer in southern France on March 13, 2007 in Gorbio, France. He was 67.
Three Wishes
When Pannonica inquired what his three wishes would be Bob Cranshaw replied with these three answers:
- “That Barry Harris would go to Chicago with us for two weeks.”
- “That I might learn how to play the bass!”
- “That my family will be proud of me.”
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Requisites
The Festival Album ~ The Jazz Crusaders | By Eddie Carter
This morning’s discussion is a 1966 live album by four friends from Houston, Texas who began performing locally in 1956. After moving to Los Angeles in 1961, they became The Jazz Crusaders, one of the best West Coast jazz groups. I became a fan of their music listening to Chuck Lansing of Cleveland’s jazz station, WCUY 92.3 FM. His opening theme was The Young Rabbits, taken from their second LP, Lookin’ Ahead (1962). The Festival Album (World Pacific Jazz ST-20115) contains two performances from The Pacific Jazz Festival and The Newport Jazz Festival. The quartet consists of Wayne Henderson on trombone, Wilton Felder on tenor sax, Joe Sample on piano, and Stix Hooper on drums. Jimmy Bond (tracks: A1, A2) and Herbie Lewis (tracks: B1, B2) on bass, complete the group. My copy used in this report is the 1967 Stereo reissue (Pacific Jazz ST-20115).
Trance Dance by Kenny Cox opens Side One with a collective soulful theme. Wayne goes first with a noteworthy contribution offering a relaxing informality. Wynton follows with an excellent solo of his own, then Joe gives a spirited closing reading ahead of the ensemble’s reprise and ending. A Summer Madness is the collaborative creation of Sample, Henderson, and Felder. Wayne leads the quintet on the mid-tempo melody, then entices the listener with a captivating first statement. Wilton builds a satisfying groove with inspired lines next. Joe unfolds the next reading with a mellow tone effortlessly, and Jimmy makes a brief remark into the finale and crowd’s ovation.
Henderson’s Young Rabbits is off to the races from the intensely hot opening notes of the melody. Felder takes the first solo at breakneck speed with electrically charged excitement. Sample steps up next for a high-octane statement. Stix provides an energetic interpretation leading to the vigorous ending. Sample’s Freedom Sound was the title tune of their debut album (1961). The trio begins this midtempo swinger with a march-like introduction developing into the quintet’s theme. Felder takes the lead with a cheerfully, light-hearted reading. Henderson swings comfortably into the next statement, and Joe wraps the album with a leisurely-paced performance powered by Herbie and Stix’s excellent groundwork.
This was The Jazz Crusaders’ twelfth LP for World Pacific Jazz and Pacific Jazz Records. *They were extremely popular and well known on the West Coast, but their first trip to The Newport Jazz Festival was significant because it introduced them to a whole new group of fans and brought them to the attention of the New York City jazz clubs. I only wish it would have been released as a two-record set with each festival highlighted on one LP. The Festival Album was produced by Richard Bock, and the sound quality of each session is quite good with an exquisite soundstage. For those fans that only know of The Crusaders’ music from the seventies and eighties, The Festival Album shows the group in excellent form live and gives a snapshot of the Hard-Bop sound they created when Jazz was their middle name! ~ *AllMusic Review by Thom Jarek – Source: AllMusic.com
~ Freedom Sound (Pacific Jazz PJ-27/ST-27), Lookin’ Ahead (Pacific Jazz PJ-43/ST-43) – Source: Discogs.com © 2021 by Edward Thomas Carter
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