sign in sign up
<<
Home , Allen Eager, Al McKibbon, Bebop, Bop City, Buddy DeFranco, Cecil Payne

Presents GROOVIN’ HIGH A Celebration of the Era

MAY 24 - 27, 2001

Box 8038 Box The Crowne Plaza

O. P. THE INSTITUTE JAZZ ANGELES THE LOS Long Beach, CA 90808-0038 Long Beach, Redondo Beach & Marina Hotel GROOVIN’ HIGH The Los Angeles Jazz Institute is pleased to announce CONVENTION FACTS Groovin’ High-An All-Star Celebration of the Bebop Era taking place May 24-27, 2001 at The Crowne Plaza Hotel DATES in Redondo Beach, . May 24-27, 2001 Groovin’ High promises to be one of the most outstanding jazz gatherings to ever take place in southern California. We are fortunate in being able to bring together most of the living giants PLACE of the bop era. The primary period that we are focusing on is The Crowne Plaza 1945-1950. This was one of the most important periods in the Redondo Beach & history of jazz due to the brilliant musical revolutions that exploded during those five years. A number of concerts have been designed Marina Hotel featuring musicians who were part of the bebop revolution as well 300 North Harbor Drive as several repertory concerts performing important from the Redondo Beach, California era. There will also be film showings and panel discussions where 90277 the story of modern jazz will be told by the artists who created it. The special convention rate Full Registration is $300 if you order by April 15. After that date, the full registration price will be $350. is $134 per night. Full registrants will have reserved seating for all concerts. Hotel stay not included Seats will be assigned in the order received. in registration fee. Send your check or money order to: Reserve your room now The Los Angeles Jazz Institute by calling (800) 368-9760 P.O. Box 8038, Long Beach, CA 90808-0038 If you wish to order by credit card or require additional PRE- REGISTRATION information please telephone our ticket office at $300 before April 15 (909)593-4180 between the hours of 9am to 6pm. $350 after April 15 Hotel reservations should be made directly with the Crowne Plaza. Includes reserved seating The toll-free number is (800)368-9760. Between 1939-1949 for all events. WILLIAM P. GOTTLIEB Be sure to mention you are attending the jazz festival to receive photographed jazz performers the special discounted rate. We expect the hotel to fill up quickly to illustrate articles he was especially since many of the musicians are from outside southern writing for DownBeat, The VENDORS Post and others. California and will be staying at the hotel. We would encourage you Tables are available. His photos, such as this to make your reservations right away. The deadline for receiving one of , are the special rate is April 27. Call (909)593-4180 widely acknowledged to be for more information unsurpassed in capturing the This is truly a once in a lifetime opportunity to see and hear jazz personalities of that era. His book, The Golden Age of the creators of modern jazz together in one place at one time. Jazz, is currently in its twelfth I hope you will be able to join us. TICKETS printing. To read some of Tickets are available for Bill’s anecdotes and to view all 1600 of his jazz photos, Sincerely, each individual event go to www.jazzphotos.com. To order tickets by phone The book and signed prints Ken Poston of his photos can be securely Los Angeles Jazz Institute or for more information ordered from this site. call (909)593-4180 GROOVIN’Schedule of EventsHIGH

11:15-12:15 PANEL 1 technique, he was also a brilliant composer whose works have been UP AT MINTON’S interpreted by a wide variety of PANELISTS: , artists in many fields. , is one of the As the new music was evolving foremost exponents of Bebop in various locations throughout . His early influences the country, two clubs in included , Tadd became central focal points: Dameron and . Minton’s Playhouse on 118th He grew up in the thriving Street and Clark Monroe’s jazz scene before establishing an Uptown House on 134th Street international reputation during both hosted after hours jam the 1950’s. sessions that provided a unique PHOTO WILLIAM GOTTLIEB atmosphere for the young joined forces at the Three Deuces THURSDAY, MAY 24, 2001 musicians to experiment with 3:30-4:30 PANEL 2 with a combo featuring Stan new ideas. The house band at Levey on drums. The Three Deuces SCENE PT. 1 engagement ended in July and 10:00-11:00 FILM 1 Minton’s featured two important PANELISTS: , Dizzy went with his pioneers, and SIR , THE ROOTS OF BE BOP first in a tour called Thelonious Monk. By the early LEONARD GASKIN, Many of the characteristics “The Hepsations of 1945”. Bird 1940’s there were a number of , that came to define modern jazz stayed in New York and opened young musicians who became AL McKIBBON began evolving several years with his own combo at Clark regulars at the sessions including After it’s initial incubation period prior to the emergence of what Monroe’s Spotlite Club featuring the likes of , at Minton’s and Monroe’s, Bebop we think of as bebop. During Sir Charles Thompson, Leonard Dizzy Gillespie, , burst upon the scene in 1943 this evolution a number of artists Gaskin and Stan Levey. By the , Cecil Payne, Idrees when Dizzy Gillespie and Oscar were prime influences to the end of the year, modern jazz was Sulieman, and Leonard Gaskin. Pettiford were booked at the new stylistic development firmly entrenched on 52nd St. including , Onyx Club on 52nd St. in New Charlie Christian, Jimmy York. 52nd St. was the unofficial Blanton, , Buster 2:00-3:00 CONCERT 1 headquarters of the jazz world 5:00-6:00 CONCERT 2 Smith, , featuring a number of clubs BOPSTICLE COURSE , Budd MISTERIOSO mostly located between 5th and THE MUSIC OF THELONIOUS MONK 6th Avenues. By 1944 Gillespie THE TERRY GIBBS QUINTET Johnson and Mary Lou WITH , Williams. Groovin’ High FEATURING BARRY HARRIS and Pettiford had split. Pettiford Although he was nicknamed the stayed at the Onyx while Dizzy RAVI COLTRANE AND opens with a film GERRY GIBBS presentation featuring “High Priest of Bop”, in reality took a new group across the Thelonious Monk’s unique street to The Yacht Club. His Terry Gibbs is one of the modern artists who were jazz pioneers and one of the significant in style cannot be categorized. He player at the Yacht Club was part of the house band at engagement was Leonard Gaskin. first to use the vibraphone in a the transition of modern jazz setting. He was in Swing to Bop. Minton’s and was very important Charlie Parker made his 52nd St. in influencing the new directions debut in the fall of 1944 and by high demand during the bop era, that jazz was going. In addition early 1945 Dizzy and Bird had making his 52nd St. debut at The to his highly personal piano Three Dueces in 1946 as a

PHOTO WILLIAM GOTTLIEB member of the Bill the names of the featured artists De Arango Trio. probably the first writer to show inside fluttered against the He has led many that bop could be orchestrated awnings of the marquees, and outstanding groups for larger ensembles. if one were interested in the over the years which wonderful world of jazz, he might have featured an Besides being a prolific composer find there it’s principle stars in an impressive array of he was also a fine pianist and improbable concentration.” sidemen including bandleader. He worked regularly — from Bird Lives. Alice McLeod, the at The with a group that included future Alice Coltrane. 2:00-3:30 CONCERT 4 This concert and . Many of his features a “together compositions became modern THE 52ND STREET ALL-STARS again for the first jazz standards. CECIL PAYNE, ALLEN EAGER, time” reunion of , Terry Gibbs and PHOTO WILLIAM GOTTLIEB IDREES SULIEMAN, SIR Alice Coltrane making a FRIDAY, MAY 25, 2001 CHARLES THOMPSON, very rare appearance with 10:00-11:00 FILM 2 LEONARD GASKIN special guests Ravi Coltrane 52ND STREET THEME Even though modern jazz and Gerry Gibbs. By 1946 modern jazz, now called had taken up residence on bebop, was a regular fixture at “The Street”, most of the several of the clubs on The Street. younger musicians worked 8:00 CONCERT 3 There were four clubs in particular as sidemen with the more that featured the new music: established names or The Onyx, The Three Deuces, The were invited to sit in THE MUSIC OF - Spotlite and The Downbeat. In at any number of -- April, Dizzy Gillespie opened at sessions that took place The Spotlite with his new big each night. This often resulted in an incredible BARRYWITH HARRIS SPECIAL GUESTS: band for an extended engagement which lasted several months. group of all-stars sharing ALLEN EAGER AND the bandstand. CECIL PAYNE Tadd Dameron was a 11:15-12:15 PANEL 3 brilliant composer and arranger who was THE 52ND STREET SCENE PT. 2 PANELISTS: ALLEN EAGER, , DON LANPHERE, , IDREES SULIEMAN By the mid 1940’s the entire history of jazz could be heard while walking along 52nd St. between 5th and 6th Avenue. All styles were represented from to swing and now bop. “By day the street was dingier than most, a dispiriting block that lay between chic 5th Avenue and the glitter of two blocks west...The street after dark became a place of glamour and promise. Neon lights brightened the sooty facades of the

brownstones. Banners bearing PHOTO WILLIAM GOTTLIEB WILLIAM PHOTO 8:00 CONCERT 6 of the significant modern jazz writers. One of the most prolific BIRK’S WORKS contributors to Dizzy’s big band A TRIBUTE TO DIZZY GILLESPIE book was who was one FEATURING AN ALL-STAR of the architects of the style of BIG BAND PERFORMING the band. Other arrangers included THE ORIGINAL ARRANGEMENTS Tadd Dameron, , WRITTEN FOR DIZZY’S George Russell and . 1940’S ORCHESTRA Birk’s Works features an all-star WITH SPECIAL GUESTS: big band playing JAMES MOODY, JIMMY HEATH, the original CECIL PAYNE, AL McKIBBON, arrangements and SLIDE HAMPTON featuring several In 1945 Dizzy Gillespie formed artists who were his first bebop big band for the key figures in Hepsations of 1945 tour. In 1946 Dizzy’s Big Band. he re-formed a big band and began a long engagement at The Spotlite Club on 52nd St. The 3:45-4:45 PANEL 4 engagement was a big success and Dizzy kept DIZZY ATMOSPHERE 5:00-6:00 CONCERT 5 a big band together PANELISTS: JAMES MOODY, into the 1950’s. The first JIMMY HEATH, AL MCKIBBON, TWO BASS HIT bebop oriented big band STAN LEVEY, CECIL PAYNE THE AL McKIBBON ALL-STARS was led by Along with Charlie Parker, Dizzy Al McKibbon first came to New in 1944. Both Dizzy and Gillespie is credited as being the York in the mid 1940’s as a Charlie Parker were part creator of modern jazz. Due to his member of the of that ground breaking outgoing personality he became Band. He was introduced to 52nd ensemble. When Eckstine the general spokesman for the St. as a member of Coleman gave up the big band he new music and was bebop’s most Hawkins’ band. In 1947 he joined gave his book of modern jazz recognizable figure. The image of Dizzy Gillespie’s Big Band where arrangements to Dizzy which the horn rimmed glasses, beret he met the pioneering cuban was later augmented by many and goatee became synonymous percussionist Chano Pozo. At with the hipster persona. Musically, the time Dizzy was fusing the Dizzy was a natural born leader elements of Cuban music with who helped open many doors for jazz. Working closely with his contemporaries. He always Chano Pozo, McKibbon was hired the best musicians for his one of the first American own groups and many future musicians to master the giants got their start in one of intricacies of the complex his bands. This panel discussion Cuban rhythms. features several of these giants who came to prominence working with Dizzy. 11:15-12:15 PANEL 5 Orchestra in the SATURDAY, MAY 26, 2001 late 1940’s when Barnet had MAKIN’ WAX adopted a bop oriented style. 10:00-11:00 FILM 3 PANELISTS: GENE NORMAN, During the 1950’s he became PETE RUGOLO, OZZIE CADENA established on the west coast DANCE OF THE INFIDELS When modern jazz first started to and worked with many of the be recognized as a force of it’s important figures of the era own, the major record companies including The Lighthouse were reluctant to record the new All-Stars, and controversial music. It was the . small independently owned labels that single highhandedly documented bebop during it’s 3:30-4:30 PANEL 6 infancy. On the East Coast, labels such as Manor, Guild, Musicraft, BIRD LORE and Savoy were THE GENIUS OF instrumental in capturing the new CHARLIE PARKER sounds on shellac. The West Coast PANELISTS: DUKE JORDAN, was represented by the entry of SIR CHARLES THOMPSON, into the market in STAN LEVEY, , 1946. RCA was the first major PETE RUGOLO label to throw it’s hat in the ring Charlie Parker was one of the followed a few years later by most significant artists of the Columbia and Capitol. Towards 20th Century. His impact on the the end of the era New Jazz, later jazz world was immeasurable. His renamed Prestige, became an creativity was unequaled and his important outlet for modern jazz. influence was far reaching. There is not a jazz musician alive today that has not been affected in 2:00-3:00 CONCERT 7 some way by his innovations. He set new standards in the areas of UN POCO LOCO rhythm, and improvisation THE MUSIC OF and was a major factor in the BUD POWELL birth of modern jazz. THE TRIO Along with Charlie 5:00-6:00 CONCERT 8 PHOTO WILLIAM GOTTLIEB Parker and Dizzy Gillespie, Bud Powell MOODAMORPHOSIS should be considered one JAMES MOODY’S of the creators of modern MODERNISTS jazz. Practically every pianist that James Moody first came to has come along since has been prominence as a member of Dizzy influenced by Bud Powell. His Gillespie’s Big Band in 1946 and impact on the jazz scene was has been a major jazz figure ever enormous. In addition to his since. He made his first recordings brilliance as a pianist, he was also as a leader in 1948 for Blue Note responsible for many important records under the name of James compositions. Un Poco Loco Moody’s Modernists. His 1949 explores the compositions of recording of I’m in the Mood for Bud Powell. Love, which inspired Moody’s Mood for Love, became one of the Claude Williamson first came to most well known jazz recordings prominence as a member of the of all time. which began in December 1945 SUNDAY, MAY 27, 2001 and lasted until the spring of 1947. Dizzy Gillespie brought a 10:00-11:00 FILM 4 group including Charlie Parker and Stan Levey to the west coast HIGH WIND IN HOLLYWOOD for an engagement at Billy Berg’s . The engagement ended in February 1946. The rest of the band returned to New York but Bird stayed behind. He began recording for Ross Russell’s new Dial Record Company and started performing around the Los Angeles area. It was at one of the Dial sessions that he suffered a breakdown and ended up in Camarillo State Hospital. After his release he did two more 8:00 CONCERT 9 west coast dates for Dial before returning to New York. BIRD LIVES PART 3 AN ALL-STAR TRIBUTE TO Upon his return to New York he 11:15-12:15 CHARLIE PARKER FEATURING: recorded frequently and performed PANEL 7 SUPERSAX, SIR CHARLES regularly with his own groups THOMPSON, , which included Duke Jordan on BEBOP INVADES DUKE JORDAN, HANK JONES, piano. He continued to record for STAN LEVEY Dial and Savoy and towards the THE WEST Bird Lives is designed as a musical PANELISTS: end of the decade also began to tribute to Charlie Parker featuring , record for . Granz four key periods of his career , often showcased him with other presented chronologically. The , jazz stars including a memorable concert features the compositions STAN LEVEY, session featuring Hank Jones on of Charlie Parker performed by When Dizzy Gillespie brought piano. musicians who played with or his group to Los Angeles in 1945 were influenced by him. PART 4 it was billed as “Bebop Invades Charlie Parker had always the West”. When they arrived, PART 1 dreamed of recording with strings they found that there were covers Bird’s 52nd St. days from and in 1949 he finally was given already a few musicians on the his initial appearance in 1944 the opportunity. Norman Granz coast who were playing the through December 1945. It commissioned some arrangements new music. Howard McGhee was during this period that for a small string group and took had come to Los Angeles with he first collaborated with them into the studios in Coleman Hawkins earlier in the 2:00-3:00 CONCERT 10 Dizzy Gillespie and began November. The following month year and decided to stay. He put to change the course of BEBOP LIVES Birdland, a club named in his together a group of like minded jazz. He also appeared as a FRANK MORGAN QUARTET honor, opened on Broadway musicians including , sideman on several record Frank Morgan came to Los at 52nd St. Teddy Edwards, dates including the classic and . They also found Angeles in 1947 and quickly Sir Charles Thompson Bird Lives concludes featuring the likes of , became a part of the exciting jazz session for Apollo. Phil Woods and a string and scene in and around Central Ave. ensemble performing the as well as youngsters like and Hollywood. Today he is PART 2 original arrangements written and considered one of the finest alto features music from Charlie for Bird with strings. Buddy Collette. saxophonists in jazz and is one of Parker’s stay in Los Angeles the true keepers of the flame. BOP3:30-4:30 CITY PANEL 8 PANELISTS: HANK JONES, PHIL WOODS, BUDDY DeFRANCO, CLAUDE WILLIAMSON

By the late 1940’s Box 8038 bebop was firmly NO REFUNDS O. FORMS TO:

entrenched and many P.

young musicians had MAIL COMPLETED established themselves as the new jazz stars. CHANGE. PROGRAM SUBJECT TO Long Beach, CA 90808-0038

8:00 CONCERT 12 The Los Angeles Jazz Institute Regular broadcasts from venues like LULLABY OF BIRDLAND the Royal Roost (The THE BIRDLAND ALL-STARS Metropolitan Bopera FEATURING: HANK JONES,

House) and later PHIL WOODS, TERRY GIBBS, ______

Birdland gave BUDDY DeFRANCO, 30.00_____ PLUS SPECIAL GUESTS widespread exposure ______to the new sounds. The decade came to an end with $ $ Many of the swing the opening of a brand new jazz era big bands venue at 1678 Broadway that was that were still in designed to be the finest jazz existence even room . Named after

started incorporating Charlie Parker, Birdland opened DISC # EXP

modern jazz into their it’s doors on December 15, 1949. ❏ libraries. , Billed as “The Jazz Corner of the Charlie Barnet and even World”, it had all of the amenities TOTAL GRAND TOTAL

Benny Goodman were all to live up to it’s claim. There were AMEX working in the modern idiom. booths, tables and the famed bull ❏

It was obvious that modern pen. The walls featured portraits ORDER FORM

jazz was here to stay. of the greatest names in jazz. MC ❏

There was also a booth where Full Four Day after April 15 @ $350 each =

Symphony Sid held forth with his anel 7 anel 8 Bebop Invades the West 10.00_____ 10.00_____ FULL FOUR DAY REGISTRATION FULL FOUR DAY @ $300 each =______Full Four Day Registrations ___ nightly broadcasts. As the new May 27, 2001 Sunday, Film 4 P Concert 10P in Hollywood High Wind Concert 11 Morgan Frank 10.00_____ Concert 12 Edwards Teddy Birdland 15.00_____ 15.00_____ 40.00_____ VISA 5:00-6:00 Only) $ otal Enclosed (U.S. Dollars SIGNATURE decade arrived Birdland became Name Address State, Zip City, ( ) Country Telephone T ❏ CONCERT 11 one of the most well known jazz IN clubs in the universe. The roster of artists who performed there on TEDDY’S FLAT a regular basis reads like a who’s

THE TEDDY who of jazz. By the mid 1950’s 30.00_____ 30.00_____ EDWARDS there were national tours QUARTET featuring The Stars of Birdland. Teddy Edwards One of the popular attractions first came to was a group billed as the East- Los Angeles West All-Stars which featured in 1945 with top names from both coasts. Ernie Fields Orchestra Groovin’ High closes with a star- and once he switched to tenor studded East-West extravaganza. quickly established himself as a bebop pioneer. He was one

of the first tenor saxophonists

to master the new style.

anel 6 Lore Bird 10.00_____ anel 5 Makin’ Wax 10.00_____

anel 4 Dizzy Atmosphere 10.00_____ anel 3 52nd St. Scene Pt. 2 10.00_____

anel 2 52nd St. Scene Pt. 1 10.00_____ anel 1 Up at Minton’s 10.00_____ you may purchase tickets for individual events as follows: you may purchase If you do not wish to attend all four days, INDIVIDUAL TICKETS

Concert 9 Lives Bird 40.00_____ Concert 8 Moody James 20.00_____ P Concert 7 Loco Un Poco 15.00_____ P Concert 6 Works Birk’s May 26, 2001 Saturday, Film 3 40.00_____ Dance of the Infidels 10.00_____ Concert 5 Al McKibbon 15.00_____ P Concert 4 52nd St. All-Stars 20.00_____ P Concert 3 Dameronia Film 2 25.00_____ Theme 52nd Street 10.00_____ Concert 2 Gibbs Terry May 25, 2001 Friday, 20.00_____ P Concert 1 Misterioso 15.00_____ P Film 1 The Roots of Bebop $10.00_____ Thursday, May 24, 2001 Thursday, ✃