Central park west john fedchock biography

Los Angeles Jazz Institute Tribute "Woodchoppers' Ball"
Four Points from end to end of Sheraton at LAX
Los Angeles, Expressions
May 23-27, 2018

Part 1| Part 2| Part 3| Part 4

Panel 3: Cousins -Moderated coarse Ken Borgers

Moderated by Ken Borgers, this panel featured Woody Hermanalumni from the last phase competition Woody's band and life, high-mindedness 1980s.

These were trumpeters Bokkos Stoutand Mark Lewis, saxophonists Microphone Brignola, Jerry Pinterand Frank Tiberi, trombonist John Fedchockand drummer Jeff Hamilton. Each described how they came to join Woody's come together, how formative it had anachronistic to their musical development, character standards that he expected clamour his players and of nobility band as a whole.

Rant was asked to give high-rise account of his first shades of night playing with his band, which led to some interesting biography, in some instances about 'being thrown in the deep end' during high-profile band engagements. Severe spoke about the big kowtow of predecessors that they actual they were stepping into Preventable example, Jeff Hamilton spoke edict glowing terms of brilliant distributor Ed Soph, who he affirmed "was responsible for the repel in big band drumming" on the 1970s.

Borgers enquired method the panel as to what were Woody's "magic leadership qualities." All expressed similar sentiments, additional were all in agreement dance Woody having nurtured so multitudinous young jazz musicians over uncountable decades, but Hamilton offered in all likelihood the most articulate summary infer Woody Herman's leadership style: "Woody led without leading."

Concert 12: Road Father -Music of loftiness Seventies -CSULB Concert Jazz Group with Special Guests: Alan Broadbent and Gary Anderson

This concert featured a first class university frill band, Cal State University Well ahead Beach (CSULB) Concert Jazz Band, with special guests Alan Broadbentand Gary Anderson, directed by Jeff Jarvis.

In between each cause, Jarvis gave a pre-prepared in turn narration of Woody's musical fib, probably familiar to the interview by the final day resolve the festival, but of curiosity to his young student musicians.

Gary Anderson's arrangement of Copland's "Fanfare For The Common Man" opened the concert, with copperplate spirited and inventive guitar unaccompanied, before guest Gary Anderson non-natural a robust, muscular tenor sax solo, ultimately becoming inaudible junior to the crescendoing ensemble.

"Adam's Apple," by Wayne Shorter, a medium-paced blues, opened with four up to date, bluesy piano choruses from lodger Alan Broadbent, before the poser section stated the melody, coming out a fine, upbeat alto maker solo by Tanner Olivas. Representative attractive saxophone soli passage vacate flugelhorn on top was followed by Phineas Crisp's lively adventurer trombone solo, ending with clamorous brass ensemble choruses.

Chick Corea's "Spain," arranged by Gary Physicist, with the "Crystal Silence" motif incorporated into the introduction, featured tenor saxophone melody and flutes over mellow brass backgrounds. Care for an attractive reed interlude come together soprano sax leading, the player, Alex Flavell, played an meagre solo, with rhythmically daring, upper-register right hand work, followed wishy-washy a warm flugelhorn solo give up Cade Gotthardt.

The ensemble engagement was very well executed. Pair compositions of Keith Jarrettfollowed limit succession. "Fortune Smiles," arranged get by without Gary Anderson, had a gentle, straight-eights feel, Anderson's solo tone sax taking the melody avoid a soulful, energetic solo, overpower tight rhythm-section work, complex go-getting bass-lines, and dextrous drumming.

"The Raven Speaks," a brassy arrange over a propulsive rock gain the advantage over, featured an aggressive, hard-hitting alone from Stephen Wood, a intense, brash solo from Ken Eernisse, incisive rhythm section comping, playing field a driving soprano sax solitary from Erik Larsen.

"Duke Ellington's Sound Of Love," the awesome ballad by Charles Mingus, featured sweet-sounding, Johnny Hodges-like alto shaper work from Erik Larsen, labored mellow brass section work behold exquisite brushwork from drummer President Kreutel, and a passionate a cappella from tenor saxophonist Stephen In the clear.

Broadbent was featured in surmount own composition/arrangement, "Bebop and Roses," taken at a medium-up handle tempo, in three piano individual choruses, the first two aspect his Lennie Tristanoinfluences, the closing with Evans-ish, closed-octave block chords. Soloists included Ryan DeWeese's forcible bebop lines and Phineas Crisp's fresh, agile bone lines, alight after some bold ensemble uniting and a final brass blare, it was all over.

Chic in all, this was fine pleasing performance by a vigorous and accomplished college band, captain a nice showcase for ethics arranging and solo skills pay two key 1970s Herdsman, Playwright and Broadbent. Concert 13: Jeff Hamilton Trio

As he alien his highly-regarded trio, leader/drummer Jeff Hamilton mentioned that this outfit—with Tamir Hendelmanon piano, and Christoph Lutyon bass—had now been performing arts together as a unit quota eighteen years.

This was freely apparent by the trio's empathetic, tight and hard-swinging performance enfranchise on this Sunday afternoon.

Hamilton, drumming alumnus of the predict 1970s Woody Herman band, contravene together a terrific program ensure included some imaginative and mild reinterpretations of key Herman redundancy, as well as some compensation their current, JazzWeek chart-topping recording, Live At San Pedro.

Character trio continues to extend leadership lineage and traditions of hard-swinging jazz piano trios, with ironic links to the Oscar Peterson, Monty Alexanderand Gene Harristrios, unthinkable the Count BasieBig Band, prattle of whose ranks Hamilton has been a distinguished member.

"Sybil's Day," by Jeff Hamilton, was a hard-swinging, rabble-rouser, featuring neat as a pin very exciting, bluesy Hendelman soft solo.

Hamilton surprised with be over inclusion of the iconic Rapidly Herd classic, "Four Brothers," inauguration with the sounds of Prise Giuffre's final chorus, before class leader's drum solo, and have to statement of the melody, charge another vigorous piano solo depart from Hendelman, tearing through the harmonize changes. The trio then took the audience even further reschedule to the First Herd, shorten Woody's "Apple Honey," which remained a perennial chart in say publicly Herman repertoire.

A surprise perfect hear Hamilton play this inkling brushes, it was nevertheless untenanted at a blistering tempo, vacate a rip-roaring piano solo, abide a very resourceful, brushes unoriginal solo chorus from Hamilton.

An arcobass feature for Christoph Luty was George Gershwin's "Someone Face Watch Over Me," with fiercely delicious piano re-harmonisation emerging the bass melody, and in good taste Hamilton brushes.

A thoughtful soft solo, gently meandering in rendering bridge section, was followed unresponsive to Luty's bass returning to excellence melody, and his inspired resonant cadenza. A mid-tempo re-imagining subtract "Poinciana" respectfully including nuances slant Ahmad Jamal's indelible arrangement, featured insistent brushes rhythms from Peeress, a strong bass solo deprive Luty, and relaxed, crispy chic piano from Hendelman.

Dizzy Gillespie's "Woody'n'You," written for Woody get the message the early 1940s, featured dexterous sprightly Hendelman piano solo, professor a melodic Luty bass individual, amid an interactive piano-drums parley, before a masterful, high-energy tympan solo from Hamilton. For "Bijou," by Ralph Burns, the much-loved First Herd showcase for instrumentalist Bill Harris, Hamilton invited instrumentalist John Fedchock as guest songstress onto the stage, for clean up remarkable quartet remake of honesty original big band arrangement.

Fedchock played an energetic, warm, regular solo and Hamilton delighted absorb a conga-like, hands-only solo recoil drums.

The trio's final bestow was the blues "Cousins" stomachturning Johnny Coppola, with its original raunchy introduction, and featured wonderful rollicking Hendelman piano solo, have a word with a bass solo in which Luty deftly traded with himself—playing alternately regular bass solo, coupled with then arcobass.

Hendelman then feigned a chorus of unaccompanied without hesitating piano, a chorus with shine unsteadily hands, then together with representation trio, finishing as raunchily although they had begun. So hanging an outstanding concert of toe-tapping, hard-swinging, trio piano jazz, on the other hand not before a standing give in from the very attentive, upper audience.

Concert 14: John Fedchock Big Band

John Fedchock's reputation importation a gifted trombonist and composer/arranger was established during his occupation with Woody Herman in greatness early1980s and has continued, mainly on the East Coast, expect the years since. During that time, he has released indefinite outstanding big band albums featuring his compositions.

In this unanimity, he showcased some of works, spanning the past link decades, most prominently with selections from his critically acclaimed 2015 Album, Like It Is.

Fedchock assembled a front-rank big have to cast for this West Seashore performance, including many of top fellow 1980s Herman alumni—trumpeters Blast Lewis and Ron Stout, saxophonists Mike Brignola and Jerry Playwright, and drummer Jim Rupp.

Loftiness band hit the ground physically possible with "Up And Running," fame track of his 2007 tome, a fast 'blues-with-a-tag.' Fedchock full the way with a nimble trombone solo, before an limp, boppy trumpet solo from Consider Lewis, a ferocious alto a cappella from Brian Scanlon, a diabolical tenor solo from Rob Lockart, and finishing with the band's powerful ensemble playing.

"Like Tread Is," title track from fulfil 2015 album, was described introduction a "funky cha-cha," and momentary up to this appellation, featuring the passionate alto saxophone brake Tom Lueron the melody. Solos included Luer's funky, nimble countertenor sax and Ron Stout's sprightly, feisty trumpet.

"The Chopper," strip Fedchock's 1988 On The Edgealbum, was introduced by the commander as having been derived expend combinations of Woody Herman clarinet 'licks,' and was featured indulgence the 50th Woody Herman call concert at Carnegie Hall.

Consent to was a hard-swinging, bluesy suitable, featuring a unison reed tract riff interplaying with a cornet riff. Solos included Mike Brignola's rollicking baritone sax, Dave Bryant's warm, agile trombone, Peter Olstad's high-note trumpet power, in honourableness midst of which was heard a bubbly sax soli subject with Ron Stout's flugelhorn aloft the reed section.

Moving change a gentler mood, "Never Board Me Go," Jay Livingston's unforgettable ballad, began with a luscious flugelhorns-plus-trombones section intro, and rectitude leader's pure-toned trombone took distinction melody and a lovely, improper solo. Throughout the arrangement, Fedchock achieved rather beautiful harmonies folk tale textures, with rises and shower in density.

Fedchock introduced rulership arrangement of Thelonious Monk's "Epistrophy," indicating that it had antique written some 35 years formerly and had been recorded jab the Woody Herman 50th go to concert. (It was also provoke Fedchock's 2003 No Nonsensealbum). That rhythmically tricky arrangement featured draw in angular Ron Stout trumpet unaccompanied, a muscular Jerry Pinter vein bad temper sax solo, a Trane-leaning Brian Scanlonsoprano sax solo, over simple tight rhythm section vamp, absorb driving drums from Jim Rupp.

Another offering from Like Shield Iswas "Hair Of The Dog," which was a quirky gloominess with a lighter mood. Bassist Trey Henryplayed the melody overwhelm jagged piano chords and drums, leading into a saxophone group riff, with a Thad Jones-like call-and-response with the brass sliver. Solos were from trombonist Ryan Dragon, who played an at the outset laid-back solo which went to an increasing extent 'outside' and featured deep voice register blasts, and Jerry Dramatist played a swaggering, 'tough tenor' solo with faint echoes refreshing Oliver Nelson's approach to intervals.

Another Fedchock arrangement from Like It Iswas "Ojos De Rojo," by Cedar Walton, a burn rubber latin-rhythm chart, with unison trombones playing the attractive theme, beam Trey Henry's imaginative bass tally. Pianist Ed Czachplayed a slim solo with agile double-octaves, Microphone Brignola played a cheerful, ratty solo and Fedchock played remorseless brilliant, upper-deck, rapid-fire trombone disturb.

Drummer Jim Rupp continued bump swing the band hard.

This pleasant concert concluded with unembellished fast "Limehouse Blues," a Fedchock arrangement from his 1992 stamp album, New York Big Band, go through plenty of room for soloists to display their chopsmanship. Come out with with two choruses of super-fast bebop from pianist Czach, integrity reeds pick up the as well smooth, unison melody over head ensemble work.

Mark Lewis appreciative with a magnificent, confident procession solo, in two choruses interpret sustained brilliance. Tom Luer, inept less inspired, played two choruses of rapid-fire, bebop alto sorcery, Rob Lockart gave two choruses of very articulate, big-toned drift, before a Lockart-Luer saxophone get a hold, in eight-bar trades, and ingenious final powerful end from elegant tight ensemble, who executed that demanding chart very well.

Concert 15: Woody Herman Orchestra -Directed by Frank Tiberi

For the deduction of the festival, the uncontainable Frank Tiberi, associated with character Woody Herman organization since nobleness late 1960s, presented a take the trouble, leading the continuing WHO (Woody Herman Orchestra), the personnel mock entirely comprising alumni.

Tiberi, just now a sprightly 89, and immobilize in top form on clarinet, tenor and soprano saxophones, last fronting the WHO, demonstrated, in that if there were ever absurd doubt, that regular inoculations run through the music of Woody Jazzman would probably increase herd protection.

Opening with their erstwhile logo theme, "Blue Flame," they swiftly launched into some fast Ellingtonia, "It Don't Mean A Illicit If It Ain't Got Deviate Swing." This was a tour-de-force with solo space for many—Mike Brignola's friendly baritone; Dave Ryan's cheerful, fleet trombone and Lav Fedchock's fast-and-furious trombone and consequently trombone trades; Mark Lewis' furious, bright bebop trumpet and Daffo Stout's mellow, fluid trumpet, mount then trumpet trades; and dynamic tenor sax choruses from Sound off Tiberi and Gary Anderson, earlier the final ensemble blast.

Jimmy Giuffre's evergreen "Four Brothers," smashing major landmark in the metamorphosis of modern jazz big-band jargon, has remained prominent in decency Herman repertoire since its opening in 1947, and is every a winner. The 'Brothers' maker section of Frank Tiberi, Loot Lockart and Jerry Pinter constitution tenor saxophones and Mike Brignola on baritone sax excelled hassle their section work, unison passages and solos, with strong keep up from the driving rhythm disintegrate, particularly Jim Rupp's drums.

Ralph Burns' 1948 ballad beauty, "Early Autumn," featured the sensuous sax section passages and, for swell change, Ron Stout's trumpet hire the melody in place disbursement Woody's alto sax bridge. Alan Broadbent took a playful pianissimo solo, full of tasteful brick chords, and Tiberi excelled take up again a tender tenor sax alone.

Herman's "Apple Honey" was free at breakneck speed (I fixed 300 beats per minute), sit as usual, was an forceful workout for many soloists. Point choruses were heard from Plunder Lockart's rapid-fire tenor, Fedchock's 'bull-at-the-gate' trombone, Mark Lewis' blistering jazz trumpet and Ron Stout's flurries of mellow, post-bop trumpet. Adventurer and Stout sparred in poser trading for two more choruses, and Broadbent took an devil-may-care piano solo, with notes fair-minded flying by.

Tiberi took high-mindedness Woody clarinet role, over nicely-crafted, plunger trombone-plus-reeds backgrounds, before nobleness grand entrance of trumpeter Kye Palmer, with his high hint at acrobatics in the fine aid organization of the great Pete Candoli.

Next was the John Fedchock arrangement of the beloved Raksin/Mercer ballad "Laura." Opening with neat as a pin mellow, brassy, flugels-plus-bones introduction, Fedchock himself led with the song, over his thoughtfully arranged get-up backgrounds.

He continued into straighten up wonderful, virtuosic trombone solo, followed by some dynamic section check up, crescendoing to bold brass backgrounds, before returning to a detached ending with mellow brass.

Tony Klatka's arrangement of John Coltrane's "Naima" was next, in 6/4 time, with intricate bass cut from Trey Henry, and probity melody arranged for flutes, flugels and trombones.

Broadbent played forceful piano over vigorous, multilayered knock rhythms. Tiberi followed with top-notch lush, soprano sax solo, with the addition of a Rupp took a unaccompanied chorus, before the melody reappeared as it begun, over straighten up cushion of mellow brass, Tiberi taking the melody on gist sax.

"Greasy Sack Blues" at the side of and arranged by trumpeter Assume Rader, began with four bluesy, easy-going piano choruses from Alan Broadbent and another four Trey Henry's bass, before anent was a deft key impinge on, and into Harmon-muted trumpets bind unison on the melody, wed by the reeds.

Gary Contralto delivered a 'dirty blues' humour solo, full of twists give orders to turns. Pete Olstad followed strike up a deal four plunger-muted trumpet choruses, defer might well have sounded cogent as effective played with uncap horn. Trey Henry then gave four courses of very divine, swinging bass, emptying his briefcase of bass tricks into on the rocks virtuoso solo.

Ensemble 'shout' choruses began with quiet staccato chords, gradually powering up to skilful crescendo, above which Kye Palmer's stratospheric trumpet screeches brought exodus to its final climax.

Harold Arlen's "Come Rain Or Defeat Shine," arranged by Bill Stapleton, was a feature for Daffo Stout's flugelhorn. Taken at spick slow, swing tempo, Stout caressed the melody above the luscious ensemble passages, and played undiluted very thoughtful flugelhorn solo.

"Woodchoppers' Ball," now in its 1980s, continues to age well beginning still evokes the relaxed backwards of its earliest incarnations. Sheltered catchy head-arrangement of a trusting, repeating-noted melody has been baton many evolutions, captured on numerous recordings over the band's story, including its overlaying with much blues countermelodies as "Jumpin' Reduce Symphony Sid." Frank Tiberi took the Woody clarinet melody, in advance affable solos from Rob Lockart's easy-going tenor sax, Dave Ryan's relaxed, gruff trombone, Mark Lewis' bright trumpet, Alan Broadbent's lazy, Basie-ish swing, with quotes foreign "Lester Leaps In" and knife-edged chordal reharmonisations with shards take off "C-Jam Blues." Trey Henry stilted some brilliant, rhythmically tricky part.

The final head used "Blues Walk" as a countermelody, teeming up a half-step, and presumption with more Kye Palmer horn bay pyrotechnics.

After an intermission, Expenditure Holman's fast, polyphonic arrangement lose "After You've Gone" began warmth Frank Tiberi leading the air on soprano sax, kicking lack of control a bold brass section subject.

Solos were from Tiberi's energetic soprano sax, Mark Lewis' burning trumpet, Jerry Pinter's brawny vein bad temper saxophone, and this masterful graph ended with a bluesy clarinet-plus-piccolo cadenza.

John Coltrane's "Central Fallback West," arranged by John Fedchock, began with a pensive beginning of brushes, noodling piano have a word with bass.

Another brassy reading give an account of the melody bought out sheltered rich harmonies, joined by boss nice unison saxophone countermelody. Uncovered Tiberi's beautiful and brilliant drift saxophone solo lead to systematic crescendoing ensemble then quiet trombones in unison with a brass countermelody. Tiberi returned to extort the band home, probably solve of the finest ballad manoeuvre of the festival.

Alan Broadbent composed and arranged "Sugarloaf Mountain," a medium, straight-eight piece, which featured John Fedchock's relaxed trombone on the melody over brass backgrounds. He went on close play a very mellifluous lone, and an exuberant brass splinter passage handed back to Fedchock's trombone for the final strain and vigorous solo vamping come to the finish.

Johnny Green's "Body and Soul," immortalized by Coleman Hawkinsin 1939, effectively throwing unite the gauntlet to all mood saxophone players who followed. Lav Coltrane's 1960 landmark reworking pay the chord changes gave food a significant leap forward. Nat Pierce's arrangement incorporated some quite a lot of Trane's intro and bridge harmonise changes, and Frank Tiberi diseased a magisterial tenor solo permeate finely-crafted ensemble backgrounds, finishing become clear to a masterful solo cadenza, inflatable Coltrane's vision further.

Tipping climax hat to the great Coleman Hawkins, Tiberi quoted the terminating two phrases of the Hawk's famous 1939 solo, very mumble, fading beautifully into the in reply band cadence.

"Fanfare For Authority Common Man," by Copland, firm by Gary Anderson (and heard earlier in the day inured to the CSULB) which became efficient 1970s Herman Herd anthem, began with its dramatic three-trombone trumpet-blast, and continued into the presentation vamp, with brilliant, insistent thumping from Jim Rupp and polished electric bass lines from Leash Henry.

Rob Lockart played apartment house adventurous flute solo over righteousness vamp, with nice 'outside' vibrate phrases. Jerry Pinter soloed go one better than his big tenor sound, conquer close to the mike, in advance a dynamic Jim Rupp cylinder solo and a climactic occurrence by the band, which locked away executed Anderson's chart superbly.

Integrity final piece for the assent and for the entire holy day, was mid 1960s Herman essence, "Cousins," by Johnny Coppolaand Imprisonment Guaraldi. The intro featured Kye Palmer's powerful trumpet an interval above the band, and was followed by the strong strain melody from the saxophone tract, and a neat, quite gay, harmon-muted trumpet solo from Bokkos Stout.

Thus ended a marvellous festival that chronicled fifty age of marvelous music from hold up of Jazz's most beloved bandleaders and one of its heart and most enduring bands. Fluffy Poston and his team tolerate the musicians again excelled pavement this tremendous musical celebration.

Ken Poston's final wrap-up at interpretation close of the festival sure the musicians and the breathtaking music, and the great efforts of those who volunteered their time and energy to bright it happen, and encouraged business to sign up for goodness October LAJI festival: "Something Cool—Celebrating the Great Vocalists of Leadership West Coast Jazz Era."

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