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Texas tenor players KICK ASS


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It would be King Curtis' 72nd birthday today, if he hadn't been murdered. I was listening to "It's party time with Jesse Powell" last night. And today the postman brought me Buddy Tate's "Groovin' with Tate" and the new David Newman album.

Texas tenor players KICK ASS!

Wilton Felder

Illinois Jacquet

Arnett Cobb

Clifford Scott

Booker Ervin

Curtis Amy

Don Wilkerson

John Manning

Wild Bill Moore

Marchel Ivery

James Clay

Budd Johnson

Harold Land

Any more?

MG

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It would be King Curtis' 72nd birthday today, if he hadn't been murdered. I was listening to "It's party time with Jesse Powell" last night. And today the postman brought me Buddy Tate's "Groovin' with Tate" and the new David Newman album.

Texas tenor players KICK ASS!

Wilton Felder

Illinois Jacquet

Arnett Cobb

Clifford Scott

Booker Ervin

Curtis Amy

Don Wilkerson

John Manning

Wild Bill Moore

Marchel Ivery

James Clay

Budd Johnson

Harold Land

Any more?

MG

David Fathead Newman:

newman2.jpg

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Billy Harper?

Billy Harper!

Kirk Whalum. I kid you not.

Didn't know either was a Texan. Didn't know you were a tenor player, either, Jim. Didn't know Frank Haynes was from there, either. Completely forgot John Hardee and Herschel Evans!

And I've never heard of Louis Hubert or Shelley Carroll. And who the hell are Jerry and Gibby?

MG

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And who the hell are Jerry and Gibby?

MG

Jerry Haynes = Mr. Peppermint, beloved Dallas area TV kiddie show host

Gibby Haynes = Jerry's son, and lead singer / chief agent provocateur of Austin punknoise merchants The Butthole Surfers

Neither one a tenor player, AFAIK.

Side note for those posters with DFW ties... for some reason my family has not yet been able to determine, by all appearances, Mr. Peppermint attended my father's funeral in October of 2004. No one actually *saw* him in attendance, but the signature "Jerry Haynes" showed up in the guest register. No "Muffin", alas.

Edited by Joe
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I've never heard of Louis Hubert...

No shame there. Louis (I've also seen it spelled Lewis) was strictly "local" as far as jazz goes. He played w/BB King for years (on tenor and bari) and never did any jazz recordings. For years, playing parts on the road was what he did. But when he came off the road, ca. 1974-5, he settled in and decided to get his jazz playing together. And he did. As you might suspect, nobody could beat him on a medium blues. Nobody!

Great guy to hang with, too. Some of us youngsters used to take him out for breakfast after the last set at The Recovery Room (where you'd often catch him sitting in w/Marchel) just to listen to his talk. Stories out the wazzoo, and one of the most genuinely warm cats I've ever known. He had a way of stirring sugar into his coffee that was one of the most elegant things I've ever seen in my life. Everything about him exuded style and true class. He passed away sometime in the early '80's, but his spirit still lives in those who knew him.

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Though Charles Brackeen was born an Okie, he did play in Texas before moving out West. For whatever reason, I always put him in this category even though he's kinda been all over the place.

Here's my two cents, via Prince Lasha:

PL: ...Buster Smith was my director, and that’s where I got most of my stamina for playing the saxophone. It was so frightening standing next to him, because it seemed like the sound was coming up through the ground, up through the bottom of the horn and out through the bell. Being a young man, I was standing there [frightened] next to him for a couple of years; prior to that, we had jam sessions every Sunday in Fort Worth with James Clay, David “Fathead” Newman, and Leroy Cooper.

AAJ: That’s the Texas sound that you, Ornette, Booker Ervin and others have, where it just feels like it’s coming up through the floor, and at least from my perspective, out through the speakers. It’s a really forceful thing.

PL: I did the same experiment with Coltrane, Sonny Rollins and Eric [Dolphy], standing next to these men it seemed like it was coming up through the ground, up through the bottom of the horn and out the bell, and that’s one of the most mysterious, magical and frightening [things]. I stood next to ‘Trane that way, and next to Rollins that way (we worked in the Jazz Workshop, went to Boston; we were all over Chicago and at the Plugged Nickel, way before your days). Those are some of the things that used to take place, and this is why I suppose you’d said that about the Texas sound.

AAJ: It’s unmistakable for anything else, and it seems like you can tell where somebody is from by how they sound on their horn.

PL: Illinois Jacquet was from Texas too. There used to be a great player I traveled with named Scotty, and he could play with one arm tied behind his back — he really could play tenor, and he was from Houston also. Arnett Cobb, all those guys came up out of there.

Edited by clifford_thornton
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