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Eric Nemeyer's Eric Nemeyer’s WWW.JAZZINSIDEMAGAZINE.COM MARCH-APRIL 2017 Interviews BillyBilly ChildsChilds Jazz Standard April 13-16 John LaBarbera Sheila Jordan Buddy Buddy CDCD REviewsREviews Comprehensive RichRich DirectoryDirectory 100th100th BirthdayBirthday Celebration,Celebration, CelebratingCelebrating TheThe JazzJazz DrumDrum of NY Club, Concert JazzJazz AtAt LincolnLincoln Center,Center, AprilApril 88 Spectacular Jazz Gifts - Go To www.JazzMusicDeals.com Fabulous CDs, Box Sets & The Jazz Lovers Lifetime Collection 20 PRINTED VOLUMES, OVER 6000 PAGES + 20 CDS = 40 POUNDS OF JAZZ To Advertise CALL: 215-887-8880 December 2015 Jazz Inside Magazine www.JazzInsideMagazine.com 1 COVER-2-JI-15-12.pub Wednesday, December 09, 2015 15:43 page 1 MagentaYellowBlacCyank To Advertise CALL: 215-887-8880 March-April 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 1 Jazz Inside Magazine ISSN: 2150-3419 (print) • ISSN 2150-3427 (online) March-April 2017 – Volume 8, Number 4 Cover Photo (and photo at right taken at Brandi’s Wharf, Philadelphia, PA) of Buddy Rich by Eric Nemeyer Publisher: Eric Nemeyer Editor: John R. Barrett, Jr. Marketing Director: Cheryl Powers Advertising Sales & Marketing: Eric Nemeyer Circulation: Susan Brodsky Photo Editor: Joe Patitucci Layout and Design: Gail Gentry Contributing Artists: Shelly Rhodes Contributing Photographers: Eric Nemeyer, Ken Weiss Contributing Writers: John Alexander, John R. Barrett, Curtis Daven- port; Eric Harabadian; Alex Henderson; Joe Patitucci; Ken Weiss. ADVERTISING SALES 215-887-8880 Eric Nemeyer – [email protected] SUBSCRIPTION INFORMATION SUBMITTING PRODUCTS FOR REVIEW ADVERTISING in Jazz Inside™ Magazine (print and online) Jazz Inside™ (published monthly). To order a subscription, call 215-887-8880 or visit Companies or individuals seeking reviews of their recordings, books, videos, software Jazz Inside™ Magazine provides its advertisers with a unique opportunity to reach a Jazz Inside on the Internet at www.jazzinsidemagazine.com. Subscription rate is and other products: Send TWO COPIES of each CD or product to the attention of highly specialized and committed jazz readership. Call our Advertising Sales Depart- $49.95 per year, USA. Please allow up to 8 weeks for processing subscriptions the Editorial Dept. All materials sent become the property of Jazz Inside, and may or ment at 215-887-8880 for media kit, rates and information. & changes of address. may not be reviewed, at any time. Jazz Inside™ Magazine | Eric Nemeyer Corporation EDITORIAL POLICIES COPYRIGHT NOTICE Copyright © 2017 by Eric Nemeyer Corporation. All rights reserved. No part of this MAIL: P.O. Box 30284, Elkins Park, PA 19027 Jazz Inside does not accept unsolicited manuscripts. Persons wishing to submit a manuscript or transcription are asked to request specific permission from Jazz publication may be copied or duplicated in any form, by any means without prior OFFICE: 107-A Glenside Ave, Glenside, PA 19038 Inside prior to submission. 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CONTENTS 22 Clubs & Venue Listings Trumpeter John LaBarbera 26 Billy Childs CLUBS, CONCERTS, EVENTS INTERVIEWSINTERVIEWS FEATURE 28 Sheila Jordan 13 Calendar of Events, Concerts, Festi- 22 Buddy Rich — Observations by His 4 Buddy Rich - Inside The Buddy Rich vals and Club Performances Manager Steve Peck & Others Big Band — As Told By Arranger, PAY ONLY FOR RESULTS LIKE US www.facebook.com/ JazzInsideMedia PUBLICITY! FOLLOW US Get Hundreds Of Media Placements — ONLINE — Major Network Media & www.twitter.com/ JazzInsideMag Authority Sites & OFFLINE — Distribution To 1000’s of Print & Broadcast Networks To Promote Your Music, Products & Performances In As Little As 24 Hours To Generate Traffic, Sales & Expanded Media Coverage! WATCH US www.PressToRelease.com | MusicPressReleaseDistribution.com | 215-600-1733 www.youtube.com/ JazzInsideMedia 2 March-April 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 March-April 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 3 Feature BuddyBuddy RichRich By Eric Nemeyer ed Pat. Pat, one semester shy of graduating, just was there, he’d hangout with us at Buddy’s re- went out on the road with Buddy. I was on the road hearsals, and Joe was the first one to play “Channel JL: Let’s start from square one. I was on the with a society, a show band, a Vegas review band, One Suite.” Buddy had him rehearse the band road…my brothers Pat and Joe, we were all at and he said, “Buddy’s looking for a trumpet play- while he listened to it when Bill Reddie brought it Berklee at the same time. Pat had one more semes- er.” I gave notice and I showed up. The thing in. It was pretty well documented. Joe was the first ter to go before graduating. To give you an idea about Buddy was there was no audition. You gave one to play it. Then, Buddy went up to the band- about Pat, Pat played in a rehearsal band every your notice on the other gig, you showed up on the stand, sat there, and just played it down. Saturday morning. Jimmy Mosher, the alto sax bandstand, and if you didn’t play the book that player who was on Buddy’s band, couldn’t take the night, you were fired. So, I flew into Last Vegas. JI: After one shot through, right? road anymore so he came back to Boston and start- We were at the Sands, first of January, 1968. We ed a Saturday morning rehearsal big band. There played a month at the Sands. JL: Pretty much one shot. There were some time would be paying gigs. And the regular tenor player change things, but pretty much Buddy had it. Joe in the band would always send Pat in as a sub on JI: The whole big band? played it all the way through as written but Buddy Saturday morning rehearsals and then Pat would put his own stamp on it because certain tempos and never get the paying gig. Everyone told him, “well, JL: The whole big band. Frankie Randall was our certain things, he had an instinct for what to change you’re a sucker, you shouldn’t be doing that” but opening act and my brother, Joe, was Frankie Ran- and what not to change. Pat was playing and when Buddy Rich called Jim- dall’s drummer. He was a good singer and Joe was my asking if he knew any good tenor players, he his drummer. Sinatra even gave Frankie a bunch of JI: When you joined the band, you were just sight- didn’t recommend the regular guy, he recommend- charts. They really liked him a lot. Because Joe (Continued on page 6) 4 March-April 2017 Jazz Inside Magazine www.JazzInsideMagazine.com To Advertise CALL: 215-887-8880 To Advertise CALL: 215-887-8880 March-April 2017 Jazz Inside Magazine www.JazzInsideMagazine.com 5 JL: I really wish that students today could have geles to record. That’s when Don Menza joined the Buddy Rich that luxury like we had. It was amazing because band. He had not been with us in Vegas, but he was you could really get it together. When the band has going to join us in L.A. He wrote “Groovin’ Hard.” that much time in one place, it really gels and con- Jay Corre [tenor sax] left. Pat took the second ten- geals and turns into something really hip. or, and Menza took first tenor and we had a couple (Continued from page 4) more trumpet changes then. Anyway, we did basi- reading the charts cold? What chair were you play- JI: And you have time to practice during the day. cally that same album with Ernie Watts playing ing in the trumpet section? “Alfie” and “Goodbye Yesterday” and some cuts JL: You have time to practice and, quite frankly, of that have been released or reissued on another JL: I was playing fourth but I had listened to that during those days, the mob ran Vegas in those thing but that never came out. They decided not to band so much, I knew all the tunes but I didn’t days. You could do pretty much anything you want put it out. They wanted to do it live, in concert, know the book. Lin Biviano was the lead trumpet except gamble so everything was free for us. Cars which is Buddy’s best area for recording anyway. So, we did the album but, to my disappointment as a player, it never came out at that time. “People forget that he wanted to be a jazz player JI: I think I have it, I’m not sure, but there was an first and then a drummer … That technique was album, like a double album on Blue Note, with a bunch of stuff that wasn’t released. “Mr. Lucky,” I a direct result of wanting to play jazz so badly ... think, was one of the tracks on there… You know, he would support the family when he JL: That could have been it. I sort of lose track when they come out on c.d. I can’t keep them all was growing up—he was the star … he was the straight as to what the chronology is there.
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