Lou Blackburn and Freddie Hill Quintet – Fire and Heat in L.A.
© –Steven
Cerra , copyright protected; all rights reserved.
Cerra
It is not uncommon
to associate the words “fire” and “heat” withLos Angeles
to associate the words “fire” and “heat” with
The point-of-view
that many non-Californians have of the City ofAngeles
horrendous earthquakes, it and its environs are threatened by raging wildfires
often sparked by hot winds, blowing through the canyons that ring the city.
that many non-Californians have of the City of
horrendous earthquakes, it and its environs are threatened by raging wildfires
often sparked by hot winds, blowing through the canyons that ring the city.
The persistent
heat also conjures up the laidback, backyard living and beach culture that has
become almost synonymous withLos Angeles
heat also conjures up the laidback, backyard living and beach culture that has
become almost synonymous with
This being said,
the words “fire” and “heat” were rarely used with the style of modern Jazz that
emanated from the sprawling city that constitutesLos Angeles
the words “fire” and “heat” were rarely used with the style of modern Jazz that
emanated from the sprawling city that constitutes
To state the
obvious, such judgments are all subjective, but every now and then a series of
recordings came along that belied the perception of Los Angeles Jazz as
languid, laidback and lethargic.
obvious, such judgments are all subjective, but every now and then a series of
recordings came along that belied the perception of Los Angeles Jazz as
languid, laidback and lethargic.
Such was the case
with the albums made by trombonist Lou Blackburn’s quintet which he co-fronted
with trumpeter Freddie Hill.
with the albums made by trombonist Lou Blackburn’s quintet which he co-fronted
with trumpeter Freddie Hill.
The group just
seemed to “happen” on the LA Jazz scene in the early 1960s and hearing them in
person at one of the many small clubs that populated theWatts area of L.A.
seemed to “happen” on the LA Jazz scene in the early 1960s and hearing them in
person at one of the many small clubs that populated the
Although Lou
subsequently went toEurope
– where as Mike Zwerin puts it – “Jazz went to live” – and formed a unique
Jazz-fusion group before his death inBerlin
and died in relative obscurity in the late 1970’s.
subsequently went to
– where as Mike Zwerin puts it – “Jazz went to live” – and formed a unique
Jazz-fusion group before his death in
and died in relative obscurity in the late 1970’s.
Fortunately, Michael Cuscuna , who heads up Mosaic Records and does reissues for Blue Note/EMI,
gathered the recordings made by Lou and Freddie’s quintet and put them out on a
single CD entitled Lou Blackburn: The Complete Imperial Sessions [0946 3 58294 2
6].
gathered the recordings made by Lou and Freddie’s quintet and put them out on a
single CD entitled Lou Blackburn: The Complete Imperial Sessions [0946 3 58294 2
6].
Here’s what
Michael had to say about the musicians and the music on these recordings in his
insert notes for the CD reissue.
Michael had to say about the musicians and the music on these recordings in his
insert notes for the CD reissue.
© –Michael
Cuscuna , copyright protected; all rights reserved.
Cuscuna
“THE COMPLETE IMPERIAL
SESSIONS LOUBLACKBURN
SESSIONS LOU
This disc contains
the complete output of the Lou Blackburn-Freddie Hill Quintet. Like Curtis Amy,
Teddy Edwards, Jack Wilson, and so many others inLos Angeles Blackburn were making their living in the recording
studios and film soundstages. Their creative efforts were confined to
low-paying club dates and the occasional album, which was usually met with nice
reviews and poor sales.
the complete output of the Lou Blackburn-Freddie Hill Quintet. Like Curtis Amy,
Teddy Edwards, Jack Wilson, and so many others in
studios and film soundstages. Their creative efforts were confined to
low-paying club dates and the occasional album, which was usually met with nice
reviews and poor sales.
Big bands were
another creative salvation and theL.A. Blackburn were, at various times, members of the
Gerald Wilson, Onzy Matthews, and Oliver Nelson orchestras, which enjoyed some
joyous live gigs and the hipper studio dates.
another creative salvation and the
Gerald Wilson, Onzy Matthews, and Oliver Nelson orchestras, which enjoyed some
joyous live gigs and the hipper studio dates.
Together, they
appeared onWilson
Lou Rawls’s two Matthews-arranged albums Black and Blue and Tobacco
Road, Oliver Nelson’s Live From Los Angeles, and
Nelson-arranged projects by Carmen McRae, The Three Sounds, and Thelonious Monk
appeared on
Lou Rawls’s two Matthews-arranged albums Black and Blue and Tobacco
Road, Oliver Nelson’s Live From Los Angeles, and
Nelson-arranged projects by Carmen McRae, The Three Sounds, and Thelonious Monk
Lou Blackburn was
born inRankin , Pennsylvania Pittsburgh November 22, 1922 . His first instrument was piano, but
during his final two years atRoosevelt University Chicago
felt to be mare natural for expressing himself.
born in
during his final two years at
felt to be mare natural for expressing himself.
He was drafted
into the army in 1945 for two years. After discharge and a couple of years of
civilian life as a musician, he rejoined the military and gained incredible
experience while stationed in Japan and Germany, performing with David Amram,
Don Ellis, Walt Dickerson, John Wright, and Jesse Belvin, and other artists who
toured where he was stationed. In 1956, he left the service and gigged aroundPhiladelphia Atlantic City
into the army in 1945 for two years. After discharge and a couple of years of
civilian life as a musician, he rejoined the military and gained incredible
experience while stationed in Japan and Germany, performing with David Amram,
Don Ellis, Walt Dickerson, John Wright, and Jesse Belvin, and other artists who
toured where he was stationed. In 1956, he left the service and gigged around
In 1958, he
started a two-year stint with Lionel Hampton’s big band, and then worked with
Cat Anderson’s group. An offer came from Duke Ellington in 1961 and Lou joined
in time to participate in the Paris Blues and First Time/The Count Meets the
Duke projects. It’s easy to see why Ellington would be attracted to
such an expressive and versatile trombonist, but the gig lasted only nine
months.
started a two-year stint with Lionel Hampton’s big band, and then worked with
Cat Anderson’s group. An offer came from Duke Ellington in 1961 and Lou joined
in time to participate in the Paris Blues and First Time/The Count Meets the
Duke projects. It’s easy to see why Ellington would be attracted to
such an expressive and versatile trombonist, but the gig lasted only nine
months.
breaking into the jazz, studio, and film scenes.
Freddie Hill was
born inJacksonville , Florida April 18, 1932 . He studied cello and piano as well as
trumpet. After four years at Florida A & M on a music scholarship and two
years in the army that brought him into contact with the Adderley brothers,
among others, he moved toLos Angeles
State College. Gigs with many artists, including Gerald Wilson and Earl Bostic,
followed.
born in
trumpet. After four years at Florida A & M on a music scholarship and two
years in the army that brought him into contact with the Adderley brothers,
among others, he moved to
State College. Gigs with many artists, including Gerald Wilson and Earl Bostic,
followed.
Hill eventually
had the security Of steady studio work thanks to Wilson, Matthews, Nelson, and
H. B. Barnum, but his opportunities to record as a jazz soloist were few.
Besides Gerald Wilson’s Pacific Jazz sessions on which he had to share space
with a lot of outstanding soloists, he is heard to great advantage on Leroy
Vinnegar’s Leroy Walks Again!! and Buddy DeFranco’s Blues Bag, which also
included Curtis Fuller and Art Blakey.
had the security Of steady studio work thanks to Wilson, Matthews, Nelson, and
H. B. Barnum, but his opportunities to record as a jazz soloist were few.
Besides Gerald Wilson’s Pacific Jazz sessions on which he had to share space
with a lot of outstanding soloists, he is heard to great advantage on Leroy
Vinnegar’s Leroy Walks Again!! and Buddy DeFranco’s Blues Bag, which also
included Curtis Fuller and Art Blakey.
Trumpeter Charles
Tolliver remembers, “In 1966,I met Freddie Hill while he was working with
Gerald Wilson. We discovered that we were both fromJacksonville
got me into Gerald’s band and let me live in one of the houses he owned, which
was around the corner from where Lou Blackburn lived and near where Andrew and
Laverne Hill were staying at the time. Freddie and Lou were working studio
dates around the clock. Earl Palmer was contracting a lot of sessions at that
time.”
Tolliver remembers, “In 1966,I met Freddie Hill while he was working with
Gerald Wilson. We discovered that we were both from
got me into Gerald’s band and let me live in one of the houses he owned, which
was around the corner from where Lou Blackburn lived and near where Andrew and
Laverne Hill were staying at the time. Freddie and Lou were working studio
dates around the clock. Earl Palmer was contracting a lot of sessions at that
time.”
Like Blackburn , Horace Tapscott, born in Houston , Texas April 6, 1934 but raised in Los Angeles
switched to trombone. He worked in the bands of Wilson, Hampton, and Matthews
on that instrument; he had begun to shift his emphasis back to the piano by the
time of these sessions. He remained one of L.A’s best kept secrets although
there were glimmers of hope when he wrote and arranged the music for Sonny
Criss’s Sonny’s Dream (Birth Of The New Cool) in 1968 and made his
debut as leader the following year with The
Giant Is Awakened, an album that also introduced Arthur Blythe, on the
newly formed Flying Dutchman label. From the early 1970’ss until his death in
1999, Tapscott would record a series of albums, either solo or trio or with his
Pan-Afrikan Peoples Arkestra on Nimbus and a variety of independent labels,
that revealed a distinctive pianist/composer with a conception all his own.
switched to trombone. He worked in the bands of Wilson, Hampton, and Matthews
on that instrument; he had begun to shift his emphasis back to the piano by the
time of these sessions. He remained one of L.A’s best kept secrets although
there were glimmers of hope when he wrote and arranged the music for Sonny
Criss’s Sonny’s Dream (Birth Of The New Cool) in 1968 and made his
debut as leader the following year with The
Giant Is Awakened, an album that also introduced Arthur Blythe, on the
newly formed Flying Dutchman label. From the early 1970’ss until his death in
1999, Tapscott would record a series of albums, either solo or trio or with his
Pan-Afrikan Peoples Arkestra on Nimbus and a variety of independent labels,
that revealed a distinctive pianist/composer with a conception all his own.
Bassist John Duke,
who had already worked with Horace Henderson, gigged with Bobby Bryant and
Louis Jordan among others after the dissolution of this quintet. He joined the
Basie band in the 70s, frequently working side jobs with Al Grey when the band
was off. Drummer Leroy Henderson is best known for his 1961-62 stint with
Richard “Groove” Holmes’s trio, which gave him the opportunity to
record with Gene Ammons and Lou Rawls. Beyond gigs with Vi Redd and Charles
Kynard, little is known about him after 1963.
who had already worked with Horace Henderson, gigged with Bobby Bryant and
Louis Jordan among others after the dissolution of this quintet. He joined the
Basie band in the 70s, frequently working side jobs with Al Grey when the band
was off. Drummer Leroy Henderson is best known for his 1961-62 stint with
Richard “Groove” Holmes’s trio, which gave him the opportunity to
record with Gene Ammons and Lou Rawls. Beyond gigs with Vi Redd and Charles
Kynard, little is known about him after 1963.
In a feature
article on the group in theFebruary 13, 1964 issue of Down Beat, Blackburn told John Tynan that the idea for the group came shortly after
he’d arrived inL.A. Los Angeles
Rubaiyat Room in the Watkins Hotel. Freddie was one of them. Well, we seemed to
get such a good blend with his trumpet and my trombone; he suggested we try to
make it permanent. So we did.”
article on the group in the
he’d arrived in
Rubaiyat Room in the Watkins Hotel. Freddie was one of them. Well, we seemed to
get such a good blend with his trumpet and my trombone; he suggested we try to
make it permanent. So we did.”
The group was
formed in November 1962 and quickly secured a contract with Imperial, a label
not known for much jazz recording. The front-line instrumentation is rather
rare. There was a 1957 Blue Note album by Curtis Fuller with Art Farmer, J. J.
Johnson’s 1958 quintet with Nat Adderley, the Clark Terry-Bob Brookmeyer
Quintet of 1964-65, and, much later, Woody Show’s 1980 quintet with Steve
Turre. Rather surprising given that the combination has a lovely sonority all
its own.
formed in November 1962 and quickly secured a contract with Imperial, a label
not known for much jazz recording. The front-line instrumentation is rather
rare. There was a 1957 Blue Note album by Curtis Fuller with Art Farmer, J. J.
Johnson’s 1958 quintet with Nat Adderley, the Clark Terry-Bob Brookmeyer
Quintet of 1964-65, and, much later, Woody Show’s 1980 quintet with Steve
Turre. Rather surprising given that the combination has a lovely sonority all
its own.
In Blackburn and Hill, one can hear all the qualities
that made them in demand for studio work: their clarion tones, their accurate
pitch and clean articulation, their breadth Of idioms, and their blend. But
unlike many studio musicians, they were both expressive, first-rate soloists.
Horace Tapscott, the other soloist here, had only recently returned to the
piano; these were his first recordings on the instrument. He had yet to find
his own personal voice on the piano, but elements of his style, like his
percussive approach, were already in place.
that made them in demand for studio work: their clarion tones, their accurate
pitch and clean articulation, their breadth Of idioms, and their blend. But
unlike many studio musicians, they were both expressive, first-rate soloists.
Horace Tapscott, the other soloist here, had only recently returned to the
piano; these were his first recordings on the instrument. He had yet to find
his own personal voice on the piano, but elements of his style, like his
percussive approach, were already in place.
The aforementioned
Down Beat article, by which time
Varney Barlow was the drummer, mentions plans for a third album that would
includeBlackburn ‘s recently composed “Afro-Eurasian
Suite,” but it never materialized. There was also talk of a European tour,
but, in all likelihood, aside from one gig in Denver, this quintet never played
anywhere but in L.A. – and even then only infrequently. Blackburn’s ten years
in Los Angeles was not without its many rewording moments (including performing
“Meditations on Integration” with Charles Mingus at Monterey), but in
1971, he moved to Berlin and soon formed a unique band, Mombasa, that forged
its own fusion of jazz, blues, and African music, which he led into the ’80s.
He died inBerlin June 7, 1990 .
Down Beat article, by which time
Varney Barlow was the drummer, mentions plans for a third album that would
include
Suite,” but it never materialized. There was also talk of a European tour,
but, in all likelihood, aside from one gig in Denver, this quintet never played
anywhere but in L.A. – and even then only infrequently. Blackburn’s ten years
in Los Angeles was not without its many rewording moments (including performing
“Meditations on Integration” with Charles Mingus at Monterey), but in
1971, he moved to Berlin and soon formed a unique band, Mombasa, that forged
its own fusion of jazz, blues, and African music, which he led into the ’80s.
He died in
Freddie Hill also
left theL.A.
of skater Peggy Fleming and moved out to the desert. Studio work was dying up
and Hill died a forgotten man before the end of the decade.
left the
of skater Peggy Fleming and moved out to the desert. Studio work was dying up
and Hill died a forgotten man before the end of the decade.
– Michael Cuscuna , 2006”