Pianist Hal Galper was a busy guy in Boston in 1962. Much of that activity centered around the Stable, the cellar club on Huntington Avenue, where Galper practiced his craft almost every night. Tuesdays and Thursdays, he played with Herb Pomeroy’s big band, while on weekends he worked with Varty Haroutunian’s small groups. On Mondays, he was a regular in trombonist Gene DiStasio’s Quintet, and their music is the subject of today’s post.
In April 1962, everyone knew the Stable had a date with the wrecking ball. The Commonwealth was razing the building to make way for a turnpike on-ramp. The musicians played on, though, and one Monday night, an unknown person captured DiStasio’s Quintet on tape. That recording ended up with Ray Santisi, and is now the fourth installment in my Santisi tapes project. It was Hal Galper, by the way, who replaced Santisi in the Herb Pomeroy Orchestra in 1959.
After transferring the music from the original 1/4-inch tape to a digital format, I sent a copy to Galper, knowing full well that musicians often take a dim view of being asked to listen to the way they played “back then.” But he was game, and in January 2017 we talked by phone about the music and his time in Boston.
When someone dies, we sometimes hear a tongue-in-cheek comment regarding the disposition of the departed’s worldly possessions: “You live, you die, your stuff goes out on the curb.” There are too many stories of lifetime LP collection ending up in a thrift shop donations bin, or of old scrapbooks being thrown away. When the time came for the family of pianist Ray Santisi to empty his apartment, they asked drummer Don McBride to help them ensure that none of Ray’s musical artifacts accidentally landed on the curb.
McBride and Santisi went way back—Don had known Ray for close to 60 years, from the time of the original Jazz Workshop on Stuart Street. Naturally he said yes, and some things of musical interest did turn up.
They found, for instance, a big box of reel-to-reel tapes, dozens of them, mostly from the 1960s, in the back of a closet. I’m sure Ray had planned to do something with them someday—many of us have rainy day projects that we never seem to get to. McBride looked at the tapes, recognized them for the treasures they were, and with the family’s blessing, took them away.
Stone Blues and Beyond: A Son of Roxbury Recognized
Roxbury-born trombonist and percussionist Daoud Haroon was recently named a 2014 Fellow by United States Artists (USA)—a prestigious fellowship, accompanied by a generous grant. It is a high honor for the 81-year-old Haroon, acknowledging his lifetime of work in the arts, education and religion. He could never have foreseen all the turns his life would take when he was a young trombonist in this town, back when he was known as John Mancebo Lewis, another of the talented musicians who grew up in Roxbury in the years following World War II.
Like others from that time and place—trumpeter Joe Gordon, bassist Bernie Griggs, drummer Roy Haynes—Lewis learned his jazz informally, on bandstands and in jam sessions. He wasn’t a conservatory student, but he took lessons from someone who was. His teacher, Chuck Connors, studied at the Boston Conservatory, and Connors and Lewis played together in Richie Lowery’s Boston big band in the mid 1950s. Connors would join Duke Ellington’s orchestra in 1961 and remain in the trombone section for 13 years.
In 1958, Lewis joined the quintet of another Boston Conservatory student and Lowery bandmate, saxophonist and composer Ken McIntyre (not yet known as Makanda). Others in the group were pianist Dizzy Sal (Edward Saldanha), bassist Larry Richardson, and drummer Bill Grant.
Pianist Ray Santisi, who died October 28 at age 81, was a working musician for almost 65 years. He was also a composer and arranger, author, and perhaps most famously, teacher. He joined the Berklee faculty in 1957, and spent 57 years there.
He was also the last surviving Stablemate—the last of a trio of Boston musicians for whom Benny Golson composed the song “Stablemates” in 1955. The others were trumpeter Herb Pomeroy and tenor saxophonist Varty Haroutunian. The three set the pace at the Stable, one of the city’s great jazz rooms in years gone by.
I thought I’d remember Ray today by taking a look at the formative years of his career.
I wrote about the recordings made by the Jaki Byard Quartet at Lennie’s-on-the-Turnpike in an earlier post, and I’ve finally added an extended track from Volume 2 of Live! to my YouTube channel. I chose “Jaki’s Ballad Medley,” but as you’ll hear, Jaki was joking when he mentioned ballads. For some reason, though, the people at Prestige Records kept “Ballad” in the title.
Byard starts with a bit of his “European Episode,” and then works through “Tea for Two,” “Lover,” his own composition “Strolling Along,” “Cherokee,” and finally Frank Foster’s “Shiny Stockings.” Drummer Alan Dawson and bassist George Tucker acquit themselves admirably throughout, but the star is Joe Farrell on tenor, with two fine solos.
The recording was made on the night of April 15, 1965—which, as Lennie reminded me, was the night Havlicek stole the ball. You non-Bostonians will just have to follow the link to look that up.
Neither vocalist extraordinaireJackie Cain, who died on September 15, nor her husband and musical partner, Roy Kral, ever claimed a particular closeness to the Boston scene. But Boston did them a good turn—it housed the record company that gave them a chance to strut their stuff when they were just starting to make it as a duo act. The two albums they recorded for the Storyville label in 1955 set the tone for the two dozen that would follow in terms of musicianship and choice of material. “Finally,” wrote Jack Tracy in his review of the first of these, “Mr. and Mrs. Kral have been recorded the way they sound on personal appearances.”
The partnership of Jackie and Roy was formed in 1946 in Chicago, where Jackie was singing with Jay Burkhart’s orchestra, and Roy was playing piano with George Davis at a club called Jump Town. Bob Anderson, a saxophonist with Burkhart who had worked with Kral in earlier days, brought Cain to Jump Town to sit in. They clicked. Soon Cain was the regular singer, and people noticed. Bandleader Charlie Ventura was one, and he hired them both in late 1947. Jackie and Roy were on their way.
Fast forward to May 1954, with Jackie and Roy in Boston for a week at Storyville, where owner George Wein signed them to his Storyville Records label. In late 1954 or early 1955, the duo recorded Jackie and Roy (STLP 322) as part of the Storyville Presents series. Their backing was excellent: Barry Galbraith on guitar, Bill Crow on bass, and Joe Morello on drums. The 10-inch LP featured eight tunes, a now-famous Burt Goldblatt cover photo, and glib George Frazier liner notes. (more…)
On May 19-20, Baird Hersey and his little big band, The Year of the Ear, recorded tracks that would be released on the 1978 LP, Lookin’ for That Groove (Arista Novus AN 3004). It was the group’s second recording, and first on a major label.
Apart from being called “eclectic,” Year of the Ear defied categorization, and the descriptions of it were fanciful. The Real Paper published my favorite, in 1976, when Mike Baron called Hersey’s “radically different” band “an avant-garde space funk jazz group” that could “hit more strange and wonderful sounds in one tune than most bands hit in a year.”
Guitarist and composer Baird Hersey arrived in Boston in 1974 with a broad range of musical interests and influences, a grab-bag that included Bill Dixon, Duke Ellington, György Ligeti, Carl Ruggles, Jimi Hendrix, and James Brown. He studied ethnomusicology at Wesleyan University and composition at Bennington College, and led a rock band called Swamp Gas in the early 1970s. He formed The Year of the Ear in 1975.
It was welcome news indeed for lovers of the big sound of the baritone sax: Serge Chaloff was back. “Serge, for years one of music’s more chaotic personalities, has made an about face of late and is again flying right. It is evident in his playing, which…has become a thing of real beauty.” So began Jack Tracy’s Down Beat review (Oct 5, 1955) of Boston Blow-Up!, the recording made by the Serge Chaloff Sextet on April 4-5, 1955.
“Chaotic”…others used harsher words to describe Chaloff. Serge had been a junkie since the mid-forties, and although he played splendid saxophone with Georgie Auld, Woody’s Second Herd, and his own groups in early-fifties Boston, by 1954 he had no room left to run. He voluntarily entered the rehab program at Bridgewater (Mass.) State Hospital to put an end to his years of addiction.
Chaloff emerged from Bridgewater in early 1955, and one of the first to help Chaloff reestablish himself was the disk jockey Bob “The Robin” Martin, who negotiated a recording contract with Capitol Records as part of the “Stan Kenton Presents” series. Later in the year Martin arranged Chaloff’s guest appearance on Steve Allen’s Tonight Show.
January 1958: Life Is a Many Splendored Gig for the Pomeroy Band
In late January 1958, after what seemed to Bostonians like an interminable wait, Roulette Records released Life Is a Many Splendored Gig, the Herb Pomeroy Orchestra’s first album (Roulette R-52001), and January 30 was the date the local press first wrote about it.
John McLellan, in his twice-weekly Jazz Scene column in the Boston Traveler (oh, to have the luxury of a twice-weekly jazz column in a daily paper), summed it up in six words: “the whole album is a gas.”
In The Boston Jazz Chronicles, I wrote about this band being the high-water mark of Boston jazz in the 1950s, and this recording is the proof of it. The band swings and the soloists (especially Joe Gordon) are standouts, but I give extra credit to the arrangers—Pomeroy’s band had the reputation of a writers’ band, and they’re in evidence here. Band members Everett Longstreth and Boots Mussulli contributed two arrangements each, as did Pomeroy himself, and Jaki Byard and Ray Santisi each wrote one. Byard’s “Aluminum Baby” became the band’s most requested tune. Bob Freedman, who replaced Byard in the saxophone section in September 1957, also contributed a chart.
Jan 27, 1953: Mariano’s Boston All Stars Record for Prestige
If you liked modern jazz, and you were in Boston in the early 1950s, Charlie Mariano was your man. You don’t have to take my word for it. When I interviewed Ray Santisi for The Boston Jazz Chronicles, he said Mariano was the best of the town’s modern alto players, no question. So did Herb Pomeroy in his interview. And so did Dick Johnson in his, and Johnson went on to say Mariano was the best ballad player he ever knew.
You can judge for yourself, on a recording made on this day, 61 years ago.
Charlie Mariano is no stranger to this blog, of cours. He was the star soloist with the Nat Pierce Orchestra, and he was part of Boston’s first jazz festival with his band, the Boptet. The people at Prestige Records recognized Mariano as one to watch, and he recorded his first album for that label in 1951, a 10-inch LP titled The New Sounds from Boston. And in spring 1953, he’d make a modest proposal to a handful of his sympatico musician buddies: “let’s start a jazz workshop.” The hands-on, learn-by-doing school they started in a Stuart Street office building was eventually integrated into the Berklee School, but that’s getting ahead of the story.