Daily Dose Of Jazz…
Eddie Graham was born on November 18, 1937 in New York City. Inspired by his father who played the trombone, he acquired an early interest in rhythm which prompted him to begin the study of drums at age nine. After moving with his family from New York to Miami, Florida at 14, he had a continuing television series on WTVJ with his Swing Kings. During this time his interest in Dixieland jazz was fostered by an acquaintance with drummer “Preacher” Rollo Laylan who frequently imported jazz names to Miami.
Attending the University of Miami he performed for several seasons with the Miami Symphony before migrating to California to accompany such diverse luminaries as Jack Jones, Elvis Presley, and Anita O’Day. He toured as accompanist and conductor for Roberta Sherwood, Vic Dana and Kay Stevens during the Sixties. Eddie settled in Las Vegas, Nevada on a long term contract with Latin concert pianist, Esquivel. He toured Japan with the Village Stompers, and appeared on television with ragtime pianist Big Tiny Little. As a percussionist in the Vegas showrooms, he accompanied Rich Little, Sammy Davis Jr., Presley, Johnny Mathis, and Mack Davis, while hitting the stage with his own jazz group.
The early seventies saw him in Hawaii with trombonist Trummy Young and then hooked up with Earl “Fatha” Hines as a featured artist from 1975 to 1980. On concert tours in Europe, Australia, South America and Japan, Ed has appeared with such artists as Benny Carter, Joe Venuti, Bobby Hackett, Red Norvo, Dorothy Donegan, Barney Bigard, and Stan Getz.
Graham went on to record two albums as a leader, one studio and one live, Hot Stix and S’Wonderful Jazz, respectively. He recorded with Earl Hines on Tony Bennet’s Improv record label, with Marva Josie and a collaboration with trumpeter Billy Butterfield.
In the 80’s, he was a musical director and featured soloist in Las Vegas, and a member of the Peanuts Hucko Quartet in Palm Springs, Califonia. He [layed numerous festivals and clubs around the country during this period, and was a founding member of the 21 piece Monterey Peninsula Jazz Orchestra as percussionist and soloist at Clint Eastwood’s Mission Ranch in Carmel. At eighty-five drummer Eddie Graham still occasionally plays.
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Daily Dose Of Jazz…
Lawrence Benjamin Bunker was born November 4, 1928 in Long Beach, California. At first he played primarily drums, but increasingly he focused on vibraphone. He was later highly regarded for his playing of timpani and various percussion instruments.
Bunker is a dependable and in-demand studio drummer and vibist who achieved distinction recording with Billie Holiday, Ella Fitzgerald, Peggy Lee, Diana Krall, and many other jazz greats. In 1952, he was the drummer in one of Art Pepper’s first groups. The next two years he played drums in some of the earliest of Gerry Mulligan’s groups.
In the 1950s and 1960s he appeared at Howard Rumsey’s Lighthouse in Hermosa Beach, and performed with Shorty Rogers and His Giants and others. The Sixties had him intermittently drumming in the Bill Evans trio and played timpani with the Los Angeles Philharmonic orchestra.
His work in movie soundtracks spanned over fifty years, from Stalag 17 in 1953 and Glengarry Glen Ross in ‘92) to The Incredibles in 2004. Larry’s work included soundtracks by John Williams, Henry Mancini, Quincy Jones, Miklós Rózsa, Jerry Goldsmith, Johnny Mandel, Lalo Schifrin and many other composers.
Drummer, vibraphonist, and percussionist Larry Bunker, who was a central figure on the West Coast jazz scene, transitioned from complications of a stroke in Los Angeles, California at age 76 on March 8, 2005.
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Daily Dose Of Jazz…
Hamid Drake was born Henry Lawrence Drake on August 3, 1955 in Monroe, Louisiana but his family moved to Evanston, Illinois, when he was a child. There he started playing with local rock and R&B bands, which eventually brought him to the attention of Fred Anderson, an older saxophonist who had also moved to Evanston from Monroe as a child decades before. Drake worked with Anderson from 1974 to 2010 including on his 1979 The Missing Link.
At Anderson’s workshops, he met Douglas Ewart, George E. Lewis and other members of Chicago’s Association for the Advancement of Creative Musicians (AACM). Percussionist Ed Blackwell had a great influence on Drake, during this period. His flowing rhythmic expressions and interest in the roots of the music drew like-minded musicians together into a performance and educational collective named the Mandingo Griot Society, which combined traditional African music and narrative with distinctly American influences.
During the Seventies he met Don Cherry and with Adam Rudolph toured Europe and worked extensively with him from 1978 until Cherry’s death in 1995. It was during this period where they explored the interior landscape of percussion and shared deeply in Mr. Cherry’s grasp of music’s spiritually infinite transformational possibilities.
By the close of the 1990s, Hamid was widely regarded as one of the best percussionists in jazz and improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free jazz improvisers, performed world music and reggae during his career.
Drummer and percussionist Hamid Drake, who also plays the tabla, continues to perform.
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Daily Dose Of Jazz…
Alan Lee was born on July 29, 1936 in Melbourne, Australia. He was one of the first Australian jazz musicians to fuse classical music with jazz and to utilize Latin American rhythms in his music.
He led several jazz bands in Melbourne and Sydney from the late 1950s through the 1980s. Some of his recorded albums include his Seventies’ projects Gallery Concerts, The Alan Lee Jazz Quartet, Moomba Jazz ’76, Live from the Dallas Brooks Hall, and Alan Lee and Friends: Jazz at the Hyde Park Hotel in 1990, among others.
Bandleader, vibraphonist, guitarist, and percussionist Alan Lee at 86 continues to dabble in music.
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Three Wishes
Sun Ra had three wishes for the Baroness when she inquired what his would be:
- “A flexible instrument which could reflect every mood of any being, even a cat’s or a bird’s.”
- “A center where I would be free to present what I am actually doing to the world in the proper manner. Lights, shadows, colors, music would all be working at the same time, and it would be a synopsis of cosmic things so concentrated that, in an hour, you could be enlightened about the entire universe.”
- “The means to do things precisely, directly, and unhampered.”
*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter
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