On April 6, Steve Provizer posted a long list of Boston jazz venues, past and present, on his Brilliant Corners blog. These were jazz places remembered by Steve and his Facebook readers. He started compiling the list when Ryles Jazz Club announced it was closing—follow the link to see what he’s got.
His list got me interested in the topic of Boston jazz venues come and gone, so I dived into my database to see if I could add anything to the list. Did I ever! Between us we have about 200 entries.
These are mainly Boston jazz venues, or suburban spots inside Route 495, in operation from 1972 onward, but there are a few from the 1960s. Individual schools and churches are not included, even though they were critical to the success of Summerthing and Jazz Celebrations in Boston, Highland Jazz in Newton, Marblehead Summer Jazz, and others. And there were rock rooms like the Channel and the Paradise that had jazz on occasion, but not often enough to make the list.
In the 1970s, Bostonians enjoyed a welcome one-night respite from their long winter blues: the Jazz All Night Concert. This twelve-hour music marathon, held in February at the Church of the Covenant in the Back Bay, brought the jazz congregation together for a night of great music during some difficult and racially charged years.
The Jazz Coalition was the organizing force behind the Jazz All Night concert. Formed in July 1971, this non-profit advocacy group had two goals. The first was pragmatic: to help area musicians find places to play. The second was more ambitious: to bring together like-minded souls in a “jazz community”—a new idea in Boston in 1971. It called on musicians, educators, the media, venue owners, fans—everybody—to come together to create an atmosphere in which jazz could be respected and sustained.
Two of the Jazz Coalition’s founders and prime movers remain as pillars of the Boston jazz scene today: Mark Harvey and Arni Cheatham.
In early spring 1958, Joe Gordon abruptly left Boston for California. His last known date with Herb Pomeroy was March 18. The story has it that he stopped by the Stable to tell Pomeroy he was leaving town, and he left that same night. Allegedly Joe owed a drug dealer money, was told “pay up or else,” and fled. It might be true, it might not, but the story conforms to the generally accepted Gordon narrative.
Gordon was strung out when he arrived in Los Angeles, but he found work with the help of drummer Shelly Manne, who became one of Gordon’s strongest supporters on the West Coast. Joe gigged with Dexter Gordon and Hampton Hawes among others. He also married Irma, whom he’d known in Boston, after arriving in L.A., and he later named one of his better-known tunes for her, “Terra Firma Irma.”
Joe Gordon replaced Clifford Brown in Art Blakey’s pre-Messengers group in early 1954. That band, with alto saxophonist Gigi Gryce, pianist Walter Bishop, Jr. and bassist Bernie Griggs, recorded the album Blakey for EmArcy in May. Gordon stayed with Blakey for about six months.
In September, with Blakey, tenor saxophonist Charlie Rouse, pianist Junior Mance, and bassist Jimmy Schenck, Joe recorded for the first time as a leader, also for EmArcy. The album, a 10-inch LP, was titled Introducing Joe Gordon.
The album’s reviews were mixed. Down Beat’s Nat Hentoff praised it (April 6, 1955), writing: “Gordon, though still a little unsteady…unleashes a power and a comet-like imagination that heralds one of the exciting newer voices of the year…All in all, a bracing sample of somewhat raw but always moving jazz.”
Trumpeter Joe Gordon was only 35 when he died in 1963, and he was in and out of the limelight during his too-brief career. Relatively little is known about him, and it seems like the same few biographical sentences copied from The New Grove Dictionary of Jazz appear on website after website. With the anniversary of his birth approaching, I thought it was time to dig deeper into Gordon’s history.
Part 1 of this three-part post covers Joe’s early years, mainly spent in Boston, and stops in 1953, the year Joe met Clifford Brown. Part 2 covers his hard bop and big band years, from 1954 with Art Blakey to his flight to West Coast in 1958. Part 3 covers his final years in California, ending with the tragic fire that killed him in 1963.
Gordon’s was an original and confident voice, and writers such as Nat Hentoff, John Tynan and John S. Wilson noted with approval his big sound, clean, articulate attack, and creative solos brimming with ideas. In terms of influences, Joe himself said: “I always seem to have liked Miles’ melodic thing with Dizzy’s drive, but actually it would be hard to say which one of the trumpet players I did follow. I always seemed to have a scope wide enough to employ everyone’s style.”
There wasn’t anything else like the Brass Menagerie in Boston in the late 1960s. And even though there were jazz-flavored horn bands like Blood, Sweat & Tears and Chicago Transit Authority making waves at that time, there wasn’t anything like the Brass Menagerie anywhere else, either.
Dr. Gene DiStasio formed his little big band, which would first be named Brass ’68, in mid 1967. “The brass sound idea came to me several years back while working at Basin Street with Peggy Lee. The band then had three trombones and trumpets and rhythm section and the sound was too much!” DiStasio told writer Larry Ramsdell in January 1968. “I wanted something that was the sound of today but still had some jazz influences. You definitely would not call it a jazz band…(although) we do use jazz harmonics and some free-form things.”
The instrumentation was unusual for the time: five horns paired with what was essentially a rock band. The group was brimming with talent. DiStasio, Ed Byrne and Michael Gibson played trombone, Jeff Stout and George Zonce were on trumpet, and Ray Pizzi played saxophones and flute. The two guitarists were Mick Goodrick and John Abercrombie. Rick Laird played electric bass, Peter Donald drums, and Don Alias congas.
Let’s take a break from the insults and name calling of the 2016 presidential campaign to recall a lighter moment from the Dewey-vs-Truman campaign of 1948. It involves Thomas E. Dewey’s motorcade through the streets of Boston, Nat Pierce’s band, and Harry S. Truman’s campaign theme song, “I’m Just Wild About Harry.”
This all starts with David X. Young, the abstract expressionist painter and proprietor of the legendary Jazz Loft in New York City. He lived in Boston in the late 1940s, and was a devoted fan of Nat Pierce’s jazz orchestra.
Young wrote the liner notes for a 1975 album that collected the work of that band. (Nat Pierce Orchestra 1948–50, Zim Records ZM-1005, out of print) He mentions a 1948 incident where unnamed musicians serenaded Dewey with Truman’s campaign song, “I’m Just Wild About Harry,” as Dewey passed by on Boylston Street. He noted that Dewey listened “glumly” as confetti rained down. When, I wondered, did this happen?
With so many fine trombonists having been a part of the Boston scene—I came up with a list of 27 with reputations extending well beyond the city limits just for the 25-year span of The Boston Jazz Chronicles—it is no surprise I overlooked a few who should have been mentioned earlier. Gene DiStasio is one I missed, and with his prominence on the Santisi tapes, I can finally rectify that oversight.
Gene DiStasio was born and raised in Revere, Mass, one of eight children, all budding musicians competing for practice time on the family piano. At 15, the trombone became his primary instrument, and in 1946 he started lessons with the Boston Symphony Orchestra’s John Coffey, a legendary teacher of brass players. After a few years, though, a lung ailment forced him to set aside the trombone, and he turned toward a different career path, entering Tufts University to study biochemistry. He graduated in 1953 and went on to study dentistry at NYU.
Of course, that wasn’t the end of the trombone. By about 1952, he had regained his ability to play, and became a regular in the local clubs. Even after he moved to New York, gigs still lured him back to Boston; one notable one was playing on Serge Chaloff’s 1954 recording, The Fable of Mabel. Trumpeter Herb Pomeroy was also on that session, and when he organized his big band at the Stable the following year, he offered DiStasio a chair in the trombone section. Gene accepted—and he enjoyed it so much, he came home, transferring to the Dental School at Tufts. He graduated in 1957.
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.
With the Newport Jazz Festival right around the corner, the people at JazzBoston asked me to contribute a festival-related guest post to their blog—and to give it some Boston flavor. I wrote about a Saturday afternoon in 1958 when the Herb Pomeroy big band took the place by storm with their combination of fresh, original charts (it always was a writers’ band) and finely honed ensemble work. But the band really outdid itself with a tune written especially for them by George Duvivier, “The Lunceford Touch.” Wrote The New Yorker’s Whitney Balliett, “Herb Pomeroy and his big band, in its final number, “The Lunceford Touch”…got off some brass figures that were so loud and so brilliantly executed that the air in the park seemed to be rolled right back to the bleachers.”
“The Lunceford Touch” was a great moment for the band, but, as Pomeroy later confessed, they almost didn’t play it. Read the whole story on the JazzBoston blog.
I’ll be writing occasional guest posts for JazzBoston in the coming months, and my thanks to them for the opportunity to showcase our local jazz history on their site.