Académique Documents
Professionnel Documents
Culture Documents
Anthony Fazio
Rutgers University
Historiography
Biography
considered one of the greatest to ever live? When asked these questions my response
of all time one must have the versatility to play the three key styles of music- classical,
jazz, and lead. Not only must one play all three, but also execute at the highest of
levels. When going down the list of trumpet players to be deemed as one of the
greatest, one in particular is commonly overlooked, and his name is Lewis Michael
Soloff.
Lewis, most commonly know as Lew, was born February 20th 1944 in a
Manhattan hospital and raised in Brooklyn, New York until the age of 5 and a half,
where he then moved to Lakewood, New Jersey. From the very beginning Lew was
exposed to the arts, as his father was a soft shoe tap dancer/hotel bar manager, and his
mother was a violinist who played behind vaudeville acts. His uncle Jessie was also a
piano player and a huge influence on him, as he would play him jazz records at a young
age. Lew credits his uncle for turning him onto Louis Armstrong, Roy Eldridge, Miles
Davis and Ornate Coleman. One that Lew specifically recalled in his interview with Mike
album I Hope Gabriel Likes My Music where he recalls the tone of the upper register
of Armstrong, where it was simply beautiful and not over powering. He also recalled two
other records that had a huge impact on him, one being Gene Krupas Band After
Youve Gone featuring Roy Eldridge and the other Shoeshine Boy, which is the
reverse side of I Hope Gabriel Likes My Music. Along with these musical influences
3
Lew started playing ukulele and piano at the age of five. He would play piano up until
about ten years old where he would then fall in love with the trumpet, because it was
shiny as he states in Mike Daviss interview. Among many of his influences was a
twenty-one year old trumpet player named Eddie Medina. One summer when Lew was
around seven years old he was with his father at The Pine Point Resort in Elkhart Lake,
Wisconsin (the hotel where his father worked), where he heard Medina playing a
rendition of Magic Is The Moonlight. He recalls this specific moment because the tone
of Medina was so beautiful that it was unforgettable. Lew always used to stress to me
the importance of tone and how it was the most important element to playing the
Growing up Lews first band director was Frank Ungar and soon after he began
studying with trumpeter Willie Epstein, who was apart of the orchestras within the hotel
Lews dad worked at. One of Willies rules for teaching Lew was that he had to take two
lessons a week and practice an hour and a half a day, and at ten years old Lew did just
that. He then went to a camp called Music Land at Ananndale on the Hudson, (Bard
College) where he met many friends who also attended Julliard Prep. This inspired Lew
to attend there, where he then met one of his most influential teachers in his life, Ed
Troydell. It was Ed who helped Lew focus on his embouchure, which allowed him to use
proper form to produce notes, making it less likely to get injured from over/improper use.
Ed also guided Lew in choosing colleges to attend. Ed suggested Lew only audition at
schools he (Ed) liked the trumpet teacher, them being Oberlin, Julliard and Eastman
School of Music. Lew only wound up auditioning at Eastman and was accepted on a full
tuition scholarship where he would then study with Ed Meere. While at school Lew
4
continued to work in hotel orchestras in the Catskill Mountains during his summers off.
He started performing there when he was fifteen with Max Schilling, and then the
following two summers with Phil Schilling. During the summers off from Eastman Lew
was playing at the Laurels Hotel where he got to back up the great Tony Bennett and
many others. It was in this concert where he recalls playing his first high f, with the
help of another teacher Carmine Caruso. While at school Lew also met Chuck
Mangione (a fellow classmate) and was inspired to be a good improviser like him. Lew
claims he was technically better than Chuck at the horn, however Chuck was a better
improviser at the time, which pushed Lew to be better. Also, fellow classmate and
drummer Vinny Ruggiero suggested Lew listen to Miles Davis, Dizzy Gillespie and
Kenny Dorham to learn the bebop language. After graduating Eastman Lew moved to
New York City where he would begin his 50 year career as one of the most in demand
Upon his arrival Ed Troydell introduced Lew to Bob Swann who was the
contractor at Radio City Music. He then auditioned and was offered the position
however he declined because he accepted the job at the Taft Hotel playing with Vincent
Lopez, recommended by his Uncle Jessie. Lew did nine weeks there and played a final
summer in the Catskill Mountains at The Kutchers Hotel. It was there where he met
Frank Davilla who was playing in an orchestra opposite of him. Frank was the lead
trumpet player for the great Machito Orchestra. He liked the way Lew played and got
him into Machitos band at 21 years old upon Lews return to NYC from the Catskill
mountains. At that time Lew also played in the rehearsal bands of Howard Mcghee,
Chris Swanson, and Joe Henderson/Kenny Dorham big band. Although Lew was a
5
good soloist he wasnt into into the small group scene, most of his playing was with
large ensembles. He also remarked in a Michael Bourne interview that I was too shy
too play among the downtown guys, to improvise among the jazz names. So when i
play downtown in a big band Id just play lead..but uptown they thought of me as the
jazz player! They didnt know i could play lead(Downbeat September 1987). Lew was
already doing both at a young age alongside being offered a position at Radio City
Music, which is a position held by proficient classical musicians. Shortly after Lew
began his twenty-two year stint with Gil Evans in 1966 which was interrupted by his five
year stint with Blood Sweat and Tears starting in 1968 and ending in 1973. It was in this
group where his iconic solo on Spinning Wheel put him on the map, as he would say.
After five years Lew left the group stating that he .had to leave the band if I wanted to
nurture my creativity. I needed more space to develop (Down Beat September 1987).
He felt the band was holding him back from being creative, so he returned to NYC and
joined back up with Gil Evans who needed someone who could play lead and
improvise. At that point people who could do that were few and far between (Down
Beat September 1987). In 1973, Lew also began his musical career working in the
studios with thanks to his lifelong and best friend Alan Rubin who helped him get into
that specific scene. Lew stated how he was always thankful for the studio scene, as it
financially supported him to continue his creative process as he got older. In 1983, Lew
also began a twenty seven year stint with the Dave Matthews Quintet, who were
extremely popular in Japan. This also led to Lew beginning his solo career in 1986 with
his first release of Hanalei Bay for Electric Bird/King Records of Japan. This then led to
two more quick releases, Yesterdays and But Beautiful. He created 13 solo albums
6
and appeared on almost 500 other albums over his career. Lew is considered to be one
of the most recorded trumpet players of all time. According to a bio on Lews website he
has worked with fellow musicians such as Roy Ayers, Bob Belden, George Benson,
Benny Carter, Stanley Clarke, Paquito DRivera, Miles Davis/Quincy Jones, Mercer
Ellington, Grant Green, Lionel Hampton, Bob James, Herbie Mann, Tania Maria,
Carmen McRae, Laura Nyro, Jaco Pastorius, Mongo Santamaria, Little Jimmy Scott,
Wayne Shorter and Stanley Turrentine. Through my studies I have also found that he
has recorded with Maynard Ferguson, Hector Lavoe, Hilton Ruiz, Bob Mintzer, and
Lionel Hampton, just to name a few. His website also mentions that he has
Marianne Faithfull, Aretha Franklin, Lou Reed, Frank Sinatra, Paul Simon and Barbra
Streisand. Alongside all of these great artists Lew has also contributed music to
film soundtracks.
While creating a career playing with the whos who of the jazz community and the
Matthews, Carla Bley, Carnegie Hall and Jazz at Lincoln Center Big Bands, Lew also
made a name for himself in the classical community. He was a student of both Adolph
Bud Herseth and Arnold Jacobs, and credits both of them for being two of his greatest
embouchure development and proper use of the muscles to prevent damage from
constant high demand trumpet playing. Lew stated in his interview with Michael Grose
not only concerned with what you sound like, im concerned with how you produce the
sound. Arnold Jacobs emphasized the importance of breathing and using the air flow in
a proper manor as well horn in your hand vs. horn in your head. Lew does a wonderful
demonstration of this in the interview he did with Michael Grose shortly before he
passed (45 minute marker). In this interview Lew also explains the teachings of Herseth
and how he stressed musicality over everything else. It was with these 3 great mentors
as well as his early childhood influences that sparked Lews incredible versatility. Along
with great teachers he was also friends with trumpet legends Vincent Panzerella,
Maurice Andre, Sergei Nakariakov, and many more. Vince (who was a member of the
New York Philharmonic) was the one who suggested Lew study with Jacobs. He even
suggested that Lew audition for the NY Philharmonic, however Lew turned it down
because it would have caused him to give up improvisation, and he loved it too much to
let it go. In 2004, Lew became a member of the Manhattan Brass Quintet, now called
Manhattan Brass, where he has recorded four albums with them, furthermore displaying
Its with Lews tone and versatility that made him stand out amongst the rest.
Lews tone, versatility, and musical concepts are on the highest of levels. To me, he is
When i listen to Lew i hear nothing but pure emotion and energy. Like Miles, Lew could
take his time, and like Dizzy, Lew could play stratospheric bebop lines with precision.
Like Armstrong and Eldridge Lew could blow the house down with his sound, and like
Maurice Andre Lew could play with the sweetest of tones. Lew Soloff is simply one of
Analysis
Throughout Lews long career he has recorded on roughly 500 albums (That Tom
Lord has catalogued), and within those recordings has taken many impressive solos.
These solos help demonstrate his technical versatility, harmonic knowledge and overall
high level of musicianship. The solos i have chosen also span over his 50 year career
and demonstrate his ability to play in different genres such as jazz, salsa, rock, and
classical music.
Spinning Wheel
The first solo I will analyze is Lews iconic Spinning Wheel. This solo is know
world wide, and Lew considers this solo the one that put me on the map. (Michael
Davis Interview). What makes this solo so special is that Lew infuses jazz idioms and
bebop lines into the rock genre. As seen below, Lew starts his solo with a statement
9
(measure 1-3), using his tone, range and articulation to draw you into to what hes about
play. In measures four through seven he cleverly weaves through the dominant chords
around the cycle with the use of syncopation, followed by a standard bebop lick in
measure eight. He also responds to that first statement with another standard bebop lick
in measure eleven. Shortly there after in bar thirteen to sixteen he displays yet again
more knowledge of the bebop language, which is a language most listeners of the rock
genre are unfamiliar with. He basically shoved it down there throats, and they had no
other choice but to love it. His tone, articulation and attitude help carry these lines and
make them lovable to all ears. Lew quickly shifts his ideas on the altered chords with
outlining the basic F# dominant chord in bar seventeen through twenty, followed by the
same motif in bar twenty one through twenty four, however he cleverly descends
chromatically, further pulling the listener in for the big finish in bar twenty six. In the final
10
bar Lew displays his classical training by outlining the E7 chord with short reveille like
articulations, ending on a high G. Attached below is the solo from start to finish, further
outlining how Lew builds all the way to the end, making this one of the first and most
Hector Lavoe
El Cantante
A large part of Lews early influences came from latin big bands he heard in the
hotel bars his father used to manage. Later on his career he started playing/recording
with Hector Lavoe and his solo on El Cantante displays his ability to weave through
the chord changes in an authentic fashion. He simply uses the A harmonic minor scale
to base all of his ideas off of within his first solo of the tune. He also implies standard
bebop licks in bar ten down to twelve, covering a full two and a half octaves on the horn.
In his second solo of the tune, the feel is totally different, as the major chords give of a
much lighter feel. Lew, being as adaptable as he is floats over the top playing beautiful,
12
straight, even lines at the top of the trumpets register. He allows his tone and perfect
time to take control of these simple lines which bring it to life. Attached below is the full
solo, showing once again how he shifts his ideas and choice of register to bring intensity
to his solos. Lew Also finishes his solo off with more ideas based off of A melodic minor
scale.
Trumpet
El Cantante Hector Lavoe
The Originals
. . b
Lew Soloff
D min7
# b
E7
& 44 . J !J
A min7
- ^ 2 A min7
# #
&
D min7
# #
D min7 E7 D min7
A min7
b b
10
& #
3
b b #
Solo 2
j
F maj7
& #
15 G maj7
F maj7 w
3
#
Lay Back
G maj7
& J
19
11
Growl
23 3
&
b # A min7
D min7 E7
&
35
3
D min7
2 A min7
39
&
3
. b #
D min7 E7
# ^
43 A min7
&
Rompae Paraguay
the time and weave in and out of quarter note triplets, eight note triplets and sixteenth
notes. He also displays a Dizzy Gillespie like lick in bar six through seven with precision
and intensity, making every note sound even with a full tone.
14
What makes this solo special is that this was a feature song for Lew, however he
was also the lead trumpet player for this band. To play lead and get a feature song in an
ensemble of this statue is pretty remarkable, seeing as how this orchestra consists of
many incredible world class soloists. In this specific solo Lew demonstrates his mastery
of the plunger mute as well as the growl technique. This is occurs in multiple different
sections within his solo. (marked with the dashes and + 0 ), Lew also had a way of
combining both the plunger mute and the growl like no other.
In the example below Lew alters his speed of the plunger mute, sometimes
opening it fast over a dotted quarter note, and other times opening and closing it after
each note.
15
In the example below (bar 70-72) Lew also combines the plunger mute with his triple
In this solo Lew also fearlessly plays a high f# with the most gorgeous sound i have
ever heard, ending on a double a, in the middle of his solo none the less.
He then demonstrates his amazing range by effortlessly picking off a double a, then
working his way down the horn as seen below. One must understand that in order to
attempt this one must be in total control to feel confident enough to execute these ideas
in that register. Not only does Lew master it, but his sound is while doing so is gorgeous
In this final example below, Lew demonstrates two of his major influences, Dizzy
Gillespie and Louis Armstrong. Bar 74- 76 is as Dizzy as it gets, and from bar 86-97 he
17
pays homage to Armstrong. Overall this solo is masterful, and contains all elements of
Lews playing.
18
Manhattan Brass
For this example, there isnt much to say. There arent many classical trumpet
players that would even attempt this. Most classical trumpet players also use C, D or
even piccolo trumpets on a phrase like this, as it is extremely difficult due to being in the
extreme upper register. Not only did Lew accurately play these notes, but he played
them on a Bb horn, which is unheard of in the classical world. To play that double A on a
Bb horn one must have incredible chops. This also opened up the live recording,
crisp. There was nothing really challenging in this excerpt, however each
note was articulated with precision and a light tongue. This is a quality often
not found in jazz trumpet players, as it is the total opposite of how one
One of the most beautiful things i have ever listened too. Lews tone is pure
velvet and his ability to play this song in three breathes is what i believe truly captivates
the listener, even if they dont know it. As i listened over and over i couldnt figure out
why i was so drawn to it, other than his amazing tone and ability to control his dynamic
throughout the whole piece. Then it hit mehis phrasing. Marvelous ability to play such
Siciliana
This example features Lew playing piccolo trumpet, which he was famous for, both in
the classical world as well as jazz. His playing on this song is extremely lush, even
during his cadenza at the end, where he maintains his ability to play at double piano
within the extra upper register of the horn. It is truly remarkable, and also again
demonstrates
his fearless
quality of
trumpet
playing as he
high notes in
always went
for it and
didnt care,
he never
played it safe,
which is why i
think i was
drawn to his
playing over
most others.
22
To me these solos are just snippets of a life long fabulous career filled with
friends/colleagues, and musical ability puts him in a category all of his one. Lew Soloff
is one of the greatest trumpet players to ever live, and i was honored to call him my
friend.
23
Symbol Template
Following the more recent entries are abbreviations denoting the nature
of the material in the respective articles. These symbols are:
[A] = analytical remarks
[B] = extensive book review
[BT] = blindfold test
[C] = concert review
[D] = discography
[F] = feature article
[I] = interview
["I"] = article written by the respective musician himself [N] = (very short) news
item
[O] = obituary
[R] = extensive record review
[T] = transcription
LITERATURE:
David Baker: Music Workshop. Lew Soloff's "Lucretia Reprise" Solo transcribed
and annotated, in: Down Beat, 37/18 (17.Sep.1970), p. 32, 34 (A/T)
Joe H. Klee: Lew Soloff. The Uses of Adversity, in: Down Beat, 40/3 (15.Feb.
1973), p. 18, 38 (F/I) NN: Soloff Quits B, S&T, in: Down Beat, 40/16 (11.Oct.
1973), p. 10 (short F) [digi.copy]
Arnold Jay Smith: Lew Soloff. Seeking the Right Sound, in: Down Beat, 44/3
(10.Feb.1977), p. 14-15, 37 (F/I)
Peter Redi: Stolen Moments. 1522 Jazzkolumnen, Basel 2013 [book: Echtzeit
Verlag], p. 173 (R: chapter "Spte Entdeckung. Hanalei Bay. Lew Soloff (Electric
Bird). Yesterdays. Lew Soloff (Paddle Wheel)")
Michael Bourne: Lew Soloff. Big Band Brass Man, in: Down Beat, 54/9 (Sep.
1987), p. 24-26 (F/I)
Laurent Cugny: Las Vegas Tango. Une vie de Gil Evans, Paris 1989 [book:
P.O.L./Collection Birdland], passim (F)
24
Guy Reynard: Lew Soloff. Musique actuelle, in: Jazz Hot, #526 (Dec/Jan.
1995/96), p. 16 (I) Gianmichele Taormina: lew Soloff. Just Friends..., in: Jazz
(Italy), 3/17 (Aug/Sep.1996), p. 34-36 (I)
William F. Lee III: MF Horn. Maynard Ferguson 's Life in Music, Ojay/CA 1997
[book: M.F. Music], p. 79, 107 (I)
Ugo Sbis: Jazz Live. Lew Soloff Quartet pi Arthur Blythe, in: Musica Jazz, 55/5
(May 1998), p. 16 (C)
John Corbett: Lew Soloff - "With a Song in My Heart" (Milestone), in: Down Beat,
66/8 (Aug.1999), p. 60 (R)
Monk Rowe: Lew Soloff, in: Hamilton Jazz Archive Oral History Project
<www.hamilton.edu/jazzarchive>, 16.Apr.2000 (I) [digi.copy]
Greg Robinson: Lew Soloff & Company - "Rainbow Mountain" (32 Jazz), in: Jazz
Times, 30/9 (Nov.2000), p. 94-95 R) [digi.copy]
Steve Holtje: Lew Soloff & Company - "Rainbow Mountain" (32 Jazz), in: Jazziz,
17/11 (Nov.2000), p. 68 (R)
Chris Parker: Lew Soloff / Joe Locke / Jeff 'Tain' Watts, in: Jazz at Ronnie Scott's,
#159 (Feb.2006), p. 7 (F: concert preview)
Martin Gansinger: Lew Soloff. Guts, Hat and Ears, in: Jazzzeit, #78 (May/Jun.
2009), p. 59-60 (F/I)
Jennifer Odell: Lew Soloff, Steve Richman and the Harmonie Ensemble of New
York - "Sketches of Spain" (Sheffield Lab 10089), in: Down Beat, 78/2 (Feb.
2011), p. 58 (R: 3 stars) [digi.copy]
Giuseppe Segala: Libert significa dire di pi con meno note. Lew Soloff.
Trombettista di formidabili capacit tecniche, Soloff ha collaborato con numerosi
fuoriclasse in ambiti disparati dirigendo anche proprie formazioni (mal
documentate su disco), in: Musica Jazz, 67/9 (Sep.2011), p. 14-16 (I)
Steve Chawkins: Lew Soloff dies at 71; trumpet player for Blood, Sweat and
Tears, in: Los Angeles Times, 8.Mar.2015 (F/O) [digi.copy]
Daniel E. Slotnik: Lew Soloff, Trumpeter for Blood, Sewat and Tears, Dies at 71,
in: new York Times, 9.Mar.2015 (F/O) [digi.copy]
25
Cim Meyer: De sidste kor. Lew (Lewis Michael) Soloff, in: Jazz Special, #144
(Apr/May 2015), p. 59 (F/O) Martin Schuster: Nachruf. Lew Soloff, in: Concerto,
Apr/May 2015, p. 41 (O)
Andrey Henkin: In Memoriam. Lew Soloff, in: New York City Jazz Record, #157
(May 2015), p. 12 (F/O) [digi.copy]
Brian Morton: Obituaries. Lew Soloff, trumpeter with Blood, Sweat & Tears, Gil
Evans and Carla Bley, in: Jazz Journal, 68/5 (May 2015), p. 18 (F/O)
Hans-Jrgen Schaal: Die Wrme in der Hhe. Abschied vom Trompeter Lew
Soloff, in: Clarino.print, May 2015, p. 52-53 (F/I)
Nate Chinen: The Gig. Lew Soloff: 1944-2015, in: Jazz Times, 45/4 (May 2015),
p. 18 (F/O)
NN: Farewells. Lew Soloff, in: Jazz Times, 45/4 (May 2015), p. 29 (O)
Reiner Kobe: Farewells. Lew Soloff, 1944-2015, in: Jazz 'n' More, May/Jun.2015,
p. 66 (F/O) [digi.copy] NN: Afscheid. Lew Soloff, in: Doctor Jazz Magazine, #229
(Summer 2015), p. 27 (F/O) [digi.copy]
Youtube Sources
that I exist because of Lew. And so therefore, he was close friends with both of my
parents, so he knew me for all of my nine years of life before i ever decided to play
trumpet. And then when it became apparent that i wanted to learn the trumpet when i
was nine and a half Lew was the one who gave me my first trumpet.
So he was a really good family friend before you even picked up the horn?
Yeah. He used to work in bands and recording studios with my father Barry Rogers the
trombonist. And he was also close friends with my mom, so even after my parents
eventually separated I sometimes used to hang out with my mom and Lew, we would go
out to dinner and stuff. So then when i eventually became professional our relationship
gradually morphed from child friend, you know friend of parents, to trumpets, to
idolizing, to peer and then eventually we got to work together a lot. I should also say,
one of the first trumpet solos that I ever thought about transcribing was Lew Soloffs
Spinning Wheel solo, and when i heard it, even though i knew him there was
something about the sound. Not only that i had to know what the notes were, im talking
about when im like twelve years old. Not only did i have to know what the notes were,
but it was something in his sound that really got me, and i didn't know what it was. I
Do you know who Lews inspirations/teachers were or even some of his favorite
Well, oddly enough the year after he passed I played some jazz gig at a church in South
Jersey and it turns out Lew had grown up there and i was introduced to like his sixth
grade band teacher who was still alive, hes passed since then, but he was still alive,
this was just like two years ago. And he told me that Lew was the best trumpeter in his
school you know even as a kid. As far as influences ive heard him talk about Louis
Armstrong and i think I heard him say he picked the trumpet because it was shiny,
which is funny because i also liked the trumpet because its shiny. I should also tell you
that as far as my relationship to Lew, when i was a sophomore in high school, i was
mugged and Lews trumpet that he gave me was stolen. It was a Benge and i had it in a
camouflage bag too so when i got mugged, im talking like 1977, you know the times
were different then, people got mugged on the street, and i had Lews trumpet in this
camouflage bagged obviously Lew must of had like twenty trumpets at his house or
something, but i remember so distinctly that the horn was stolen ad it was really hard
because it was Lews and i had to call him and tell him you know.
He was cool, it wasnt as bad as i thought but for me i was just like horrified. And ill tell
you a couple of other things. I used to go to Lews house sometimes on 54th Street and
Lexington Avenue and he had a duplex apartment, and he had this parrot and i
28
remember visiting him and the parrot went on my shoulder and bit the shirt button off
and the other thing is he was like the first guy that had video cassette recorders, so we
would go to his house and he had his movie collection, so he'd be hanging out with my
mom, i mean they were just friends, they werent dating but he would hang out with my
mom and hed be like you know Chris pick a movie so on the window sill he had like a
hundred mouthpieces and right next to that he had fifty video tapes. So hed pick like a
Sophia Loren, Gregory Peck movie for me, which was great i was only like thirteen, i
was like ok ill check it out Sophia Loren. Anyone you talk to about Lew, he was like that
and the other question just to complete, you asked me about my relationship with Lew.
The last time i saw Lew was when i turned fifty, im now fifty four, and i had a gig on my
birthday at the 55 Bar, and the only person i felt like i needed to invite you know that
would be really meaningful was Lew, and he did come for the second set. He sat in with
me and of course he did the usual routine which was you know, tell me that he didn't
warm up and not to judge him on how he sounded. We were playing a Woody Shaw
tune and he started blowing a solo and he started playing these really elongated whole
notes in the upper register so that you couldn't tell what he was playing until after many
of the whole notes i realized he was playing Happy Birthday over these really intense
Woody Shaw chords, so it took him like two whole choruses to play one melody of
Happy Birthday. I thought it was cool because it wasn't one of Lews best nights, he was
cracking a lot of notes, but he didn't care, he just played and this is one of the things i
always loved, i dont know I'm sure it will come up in another question perhaps, but one
of the things i admired about Lew Soloff is he had a fearless quality as an improvise. He
wasnt concerned with being like cutting edge harmonically or being the newest stuff, or
29
playing perfect. He was never worried about cracking notes, he just played and so
theres a lot of guys you can say were more well know as improvisers on the trumpet,
but they sometimes had played it safe. Lew would never play it safe, and i feel like he
was sort of underrated sometimes, other than trumpet people, but just by other
musicians. His soloing was just fearless and it was always true improvisation. You can
find any solo of his whether you like it or whether you didn't like it and you could say
Wow thats a really great improvised solo from beginning to end, and another thing
about Lew. Lew was a trumpet players trumpet player. He was the ultimate professional
because he was great at everything he did. He would play any job, he used to tell me
Chris you know ill come and play, you know anyone that needs a lead trumpet player
for anything, it doesn't matter and i would tell people call Lew Soloff to play in your
band and like Oh hes not going to come, just like a schmuck band and im like no you
dont understand, he will come he just wants to play. And he's about you know just the
music is always first. Theres nothing about ego, or i cant do that gig, you know. He
lead trumpet, versus soloing, versus classical music and how did he maintain his
Sure, I dont really know what his actual practice routine was. I know that he always as
far as his jazz playing, i know he always talked about practicing with records, real
records as opposed to practicing with Jamie Aebersolds. Maybe he did that too but he
30
was always about practicing with records. I know that he was obviously had an amazing
classical foundation when he first came up and was doing a lot of subbing at Radio City.
I know he was friends with Vince Penzarella and i know he was friends with Ronald
Ramm, and i know that Vince was trying to get him to audition for the New York
Philharmonic even, but Lew didn't want to do that. You know obviously he had his
system, he had horns and mouthpieces. He had his small bore NY Bach Stradivarius
trumpet, that was his jazz sound. He also had a gold plated Bach later on and than i
think he had other horns that he used for lead. He made no qualms about bringing
equipment on gigs that he could cover the bases. So he would have his lead trumpet.
He would have his solo trumpet, not always but if he wanted too. Of course his piccolo.
He was know obviously for those of us who played with him not only for being a
mouthpiece guy but quite often changing mouthpieces, even in the middle of a solo.
Rather than some guys who try to do everything in the same equipment, which is
incredible, he did you know figure out what was going to work for him and he would use
it. I know that he also played all kinds of music. He played brass quintets with Dave
Taylor, he played latin music with Victor Paz and with all those records with Eddie
While we are on that subject, do you know if he had a favorite style or particular
band that he loved to play in or was his favorite and did he enjoy playing more
Well i think the Gil Evans band was really well suited for his personality. The main thing
with Lew is that no matter what band he played in he needed to be Lew. If they didn't
like what he was doing or his personal stuff than he felt like he didn't need to be there. If
you hired him you hired him to be Lew Soloff and i remember one night he was subbing
when i was with Toshiko Akiyoshis band, he was subbing on lead i was standing right
next to him. That was the night i came in late and knocked over his horn and it got
dented, but thats another story. But with that night you know i remember he was still
playing lead and soloing and the band leader Toshiko wanted him to conform to what all
the band members were conformed with which was a certain length solo, backgrounds
and then youre over. But as we know Lew like dot build his solos up and as i said Lew
needed to be Lew and would just play as long as he wanted. But in the Gil Evans band
that was perfect for him because i think he could do everything, lead and solo. I dont
know what he liked better, i just think either one he let his own personality come out.
What are some of your favorite recordings or solos of Lew and why? What stands
Okay, so we mentioned the Spinning Wheel solo obviously legendary, which i love.
Theres another solo with Blood Sweat and Tears, i think its Lucrecia McEvil. And he
solos on the tag, its a really great solo. He has a piccolo trumpet solo on a Machito Big
Band album, the name of the tune i forget, its an amazing piccolo trumpet solo. The
funny thing is Lew wasn't aware that that record had been reissued, so i remember
telling him that i had it, and he hadn't heard it in many years, so he asked if i could get it
32
form him, which was really cool because i was sharing a Lew Soloff solo with him. Now
he's made a lot of solo records. One that really stands out for me is the Little Wing the
Jimmie Hendrix song he does on one of his records, because and this sort of ties into
your other question about style. For me when i think of Lew Soloff even though he
played all these different styles i think about New York jazz trumpet. Theres only a few
guys that do that, and i was very influenced by that which is sort of what i try to do. New
York trumpet, what does that mean to me? It means that guys who came up in the very
late 60s all through 70s and developed a certain style. Not just trumpet players, it was
also players like David Sanborn, Michael Brecker, Randy Brecker, Soloff. They
developed a certain style of articulation, its sort of like RnB combined with jazz and
bebop and New York studio thing, and a certain vibrato. The only guys i ever heard do
this vibrato are Lew and Randy Brecker. Ive heard other people do it, John Clarke the
french horn player. Theres a lot of guys that are in this sort of click. That was sort of
with Gil Evans, but if you listen to Little Wing, he gets to do that. Its a combination of
his jazz roots, his lead playing but its this New York sound that he was doing with Blood
Sweat and Tears. Little grace notes, little vibrato, obviously the plunger thing that he's
really adept at. Also, the album Hanalei Bay has some really great stuff.
When you heard Lew play did he sound like any other trumpet players to you?
The only person that i ever thought about was Dizzy Gillespie. Not like John Faddis who
comes directly from Dizzy Gillespie, but theres a certain compactness with strength in
the sound. Something about the core sound, and the way the upper register comes out,
33
and sort of his bebop licks. I dont think he ever played Dizzy Gillespie licks sort of
speak but for some reason thats the person that he reminded me of.
Anyone else? For me he sounds very original with hints of Miles Davis and the
Theres definitely Miles influence also. The only reason i didn't mention it was because
all those guys that i listened to, whether its Randy Brecker, Woody Shaw, Tom Harrell,
were all sort of coming from that Miles school, which is interesting because the Dizzy
Gillespie school and the Miles school are totally different, and Lew might be the only
person i know now that you mention it that i could equate both the Miles and the Dizzy
school from which is a weird thing, i never thought of it that way. I would also say that
even in my own playing there are a few times when i have made certain recordings
where i remind myself of Lew, not all the time. I could tell you exactly which ones but i
don't know anyone else ive heard that tries to play like that.
Do you have any personal stories that maybe would let us know Lew as a
person?
Before my dad passed in 91 i didn't know it but my father and Lew were hangout
buddies. They used to go together to jazz clubs to listen to their friends and they used to
tape record it. So after my dad passed and i started looking through his cassette
collection i saw various bootlegs that he had made at gigs, and then when i listen to it i
34
hear Lew and my dad yapping. So one of them was Jon Faddis at Mikells Jazz Club
and it was right before Jon Faddis became you know what he is now. This was like
around 1989, 1990 and Jon was playing a disco tv theme song westerns, with a band
and Lew and my dad are hanging out and theyre joking like hey ya know didnt we play
on that record date and we didnt get paid. You know they were very close, but the
other story is in the year 2000 i put together a tribute to my father at the brass
conference and we had a lot of people involved. Lew was in Europe so he couldnt be
there but he called me from Europe and told me to turn on the tape recorder so i could
record his comments on the phone and he wanted me to read comments to the
audience. So yea thats the point he basically took the time, made sure i recorded his
words and says hey this is Lew Soloff i cant be there, and proceeded to tell me all this
stuff of how he met my dad, how my dad helped him in the music business at first and a
lot of really cool stuff. So i thought that was really nice, i got to read that to the audience.
Lew was also sort of a prankster and I once got to prank him. I went to some recording
date, really big date, probably like Chaka Kahn or somebody, when i was a kid. My
father was on the date, Lew Soloff was on the date, you know all the studio cats were
there, and i had become trying to make money as a music copyist, so i was like a
sophomore in high school, had a calligraphy pen. At that time i was studying the
Charlier book as a trumpet. So i thought it would be fun, i had this fancy calligraphy pen
and this music manuscript paper. I thought it would be fun i wrote some trumpet etudes
that you know they werent really etudes, they just looked like etudes. Like French
etudes and i gave them like funny names that looked like they were French but they
were not really French words, and i made this stuff ridiculous. You know one measure of
35
7/16 and then like multiple interval leaps with like 16th notes on high gs and i wrote all
this stuff. But it looked like it was legit. So i had it with me at one of these sessions
where i was just visiting, so when the band was on a break i stuck the etudes in Lews
trumpet case and it doesnt say who wrote them or anything, and then a few days later
he calls my house and he was like Chris did you write those trumpet etudes, i want to
hear you play them. And you know he used to leave funny messages on my machine
and everything. You know so what can i say he was a really great friend and a great guy
and i had amazing times with him but then you know when he just disappears you know
you realize, oh man. He was playing at the Zinc bar like two weeks before he passed
and i remember thinking, oh man i should go, and i didnt go. And of course we got to
play together on some record dates you know he was always incredibly supportive. One
thing i will say about Lew is he was always incredibly supportive to me. He never tried to
criticize me, only would support me. And heres one other funny story. We were at a
record date for something and i was telling him that this Bach trumpet i had was really
bad and hes like Chris thats impossible, you know no Bach can be that bad, let me try
it. He plays a few notes, right away he goes Chris your horn sucks. And then i
remember that same sessions, he had just recorded his Rainbow Mountain cd, and he
asked me to come in the car with him and check out the mix, and the Rainbow Mountain
has this long opening track with like really driving drums and synthesizers, i dont know
if you know the track. Its not like any other song he ever recorded. Its just like this
really long, almost like a dance track but not a dance track with soloing but just really
loud and continual rhythm like that, no straight ahead stuff. So were in Lews like little
tiny car and hes playing me this song and it goes on for like ten minutes and its so
36
freaking loud and i felt like i had to get out of there but i didnt want to say anything. And
i couldnt talk and we are just sitting there and i felt like i was trapped which is just so
funny because in retrospect that was a really wonderful moment. But if you could
imagine Lew like playing me his record, incredibly loud and not letting me talk or leave
and we are just sitting there, if you hear the track youll know what I'm talking about. You
Okay, Buddy Rich and Mongo Santamaria and Hilton Ruiz, im pretty sure Lew was the
one that got me on all those gigs. I know he got me on the Hilton Ruiz gig, which was a
three horn thing because i subbed for him at the rehearsal and then i ended up doing
those gigs. Same thing for Mongo Santamaria, i wound up getting the gig. I think i got
Buddy Richs gig because of Lew, so he really did help me. But the Mongo story is we
split the record. he played half the record i played half the record. He was the guest
really i played three quarters. I remember being in the studio, and by the way i had one
solo on the record and people always use to tell me they thought it was Lew. Thats one
of the ones i told you i felt i was influenced by Lew. So anyway we had one Latin
recording that had a trumpet solo alternating with the chorus. So hed play trumpet for
eight bars then chorus for eight bars then chorus for eight bars, just a traditional thing.
Not a latin jazz just like a traditional thing. So Lew had his piccolo in one hand and his
Bb in one hand, and not only was he trading with the singer but he was trading with
himself, so he would do eight bars on piccolo, then singer, eight bars on Bb and it was
37
just perfect because even though it was the same guy he made it sound like it was two
different musical thoughts that were playing against each other and just like seamlessly
in real time, no overdubbs. Live in the studio, and thats another one i would suggest.
The name of the album is Mongo Magic and its out of print but you should try to find it.
He had this small bore, i believe it was either medium bore, or small. I think it was small
bore thats what he played always. New York Bach trumpet. This was his solo horn all
the way for pretty much his whole career. So as i said he always had at least two horns,
sometimes three or even four with a flugel and a piccolo. So we are at Birdland for a
whole week with Toshikos band. The bandstands very crowded. So one night i got to
the gig, and i was a little late. We didnt start yet but everyone was set up. So in my
haste to get up on the bandstand with my trumpet cases and try to plant myself down
next to Lew, the first thing i did was knock over his New York Bach trumpet and dented
it. And i just felt so bad, and normally that would really bug someone. You know not only
did he not say anything to me, this is a true story, he called me the next day. He says
Chris i just want you to know it plays better now. Now truth be told, how could it
Who were some of Lews inspirations or teachers as well as his favorite trumpet
When he went to Julliard there was a guy named Ed Troydale, he loved Snooky Young,
and im sure there were a million, but those are the names that come right to my mind.
Ed Troydale was a major help to him. In fact when i gave a big concert once my chops
were all screwed up, i went to see Ed Troydale, he was like a very relaxing, had all the
Do you know what Lew practiced to meet all the demands of playing different
There was a period of time he was practicing my exercises. But it took a lot of time, so
Can you discuss your time with Lew in the Manhattan Brass Quintet, and how he
Oh, he was a great classical musician, but he got me in that group. They were looking
for a tuba player, one had left and they were going to replace him with another tuba. But
would give him freedom on top. Because a lot of times classical brass quintet would get
caught up in the 20th century concept of what classical music which is sometimes not
expansive enough. And he knew that he and i had both backgrounds and we could
Who were his classical influences/heroes on trumpet for that style or did he listen
to anything specific?
Well you know he was good friends with Sergei Nakariakov, they used to hang out in
Europe together. I was just in Norway playing with a guy named Ole Edvard Antonsen.
Very well know trumpeter in Europe. He was a buddy of Lews. He hung out with Lew.
Im sure it was Timofei Dokshizer who's one of the cats. I know Maurice Andre was big.
But you know Lew and i used to do a lot of things, like we used to go to Carnegie Hall
together. Like i remember one time we went to hear the classical singer Dietrich Fischer
40
Diesskau, and we were in the last row of the last tier, we couldn't get in but we used to
go to a lot of concerts.
Are there any specific recordings you recommend of Lew playing in that style,
specifically ones that show his proficiency playing the piccolo trumpet?
Wayne du Maine just put something up on Facebook, are you friends with Wayne du
Maine? He was the trumpet player in the Brass Quintet. He just put Lew taking a solo
on piccolo on a Paquito DRivera thing that we did. His piccolo playing was magnificent.
Even studio stuff, like we did a record years ago with Faddis (Jon). Faddis had a record,
one of his first records was F Troop and Lew took some written piccolo stuff on that,
but i don't know what to give you from the top of my head. Anything to do with the
Manhattan Brass. We have a record out the Music of David Dzubay. Crazy out stuff,
Lewie played it. We rehearsed, but he played it. He played the shit out of it too. We
played Bach. Its going to come out in a week or two or three or four. I did a lot of the
arrangements of Bach and the Brass Quintet recorded three or four of them and Lew is
on them. So thats coming out pretty soon and i highly recommend that.
Can you speak about any big bands you played in with Lew, specifically anything
Well, we were in Gils band for five or six years. He was in it for fourteen/fifteen years. I
was in it for about five years. We were on the road with Thad Jones together, We used
41
to room. He and I with Jon Faddis were roommates. Dave Matthews, for years we were
in that band together. Lewie was in the quintet for years with Dave Matthews. Mingus
obviously, and Michel Camilo Big Band. Thats a great big band. Chuck Israels, great
bass player, used to play with Gil Evans. He had a band that was very well known in
New York years and years ago. Then he went out to Eastern University to teach. Lew
was my favorite lead player. Because as clumsy and sill has he was, he danced when
he played lead. He had a special thing, and thats why he dug me too because my way
of playing is not conventional. So that opened up the whole abstract mentality. And
Snooky was like that too, maybe Conte Candoli he liked. And he love Bernie Glow. Oh
he loved Bernie Glow man, oh yea. Put that down as an influence, Bernie Glow. He
loved Miles, how could you not love Miles, he (Lew) was in Gils band 15 years.
Believe it or not man the ones that we remember the most were the ones we had the
most fun on. Because we used to fool around. Like Lewie and i both lost the biggest
contractor in New York because at the first gig he contracted we were running after
each other with water guns in the studio. Yea so we got into shit like that. You know at
that time we were doing ten, twenty recordings a week. In fact i had like with Alan
42
Rubin, you know who Alan Rubin is? Alan Rubin was Mr. Fabulous in the Blues
Brothers. Alan Rubin was a major influence on him too. They were peers. They grew up
together. Alan lent more to the non-improvisatory straight ahead tone thing. In fact
Gerard Schwarz was a great trumpet player who became a great conductor. These cats
pushed each other on. So Alan Rubin man, they were very good friends. It was so busy
we took studio apartments in Midtown Manhattan just so we had some place to crash or
practice in between gigs. We were doing gigs all day so Ruby and i were like buddies.
Theres a video on youtube of when Sinatra was older, he did a later album.
Were all on that album and were doing weekends at Atlantic City with Sinatra and we
would go down, drive down. You know what it is man, we had fun. We were laughing
No, it wasnt work, we couldnt wait to get to work. But like today its more corporate. Oh
and the reason i pointed out the thing with losing the big contractor was because there
Oh man, we lost so many gigs because we were following around, but it didnt matter
because we picked up other gigs. We never worried about gigs. I mean we werent
stupid idiots.
Did he influence any specific trumpet players or were there any that he was close
Well i know Rodriguez (Michael), Ryan Kisor, you would ask all the young cats in town.
He taught at Manhattan School of Music, and he had a lot of students over there. He
influenced a lot of guys. Even with that Blood Sweat and Tears thing man, iconic. And in
fact even Wynton (Marsalis) did a whole record for archives. Multi volume record for
some archival thing. Lewies got the last solo on the record. Oh he loved Louie
Armstrong, so you got to put that down. Oh he loved Louie, and he met Louie too.
Really?
Well they got a Grammy, when Louie presented Blood Sweat and Tears with a Grammy
No he would go back and forth. He studied with Arnold Jacobs in Chicago, so thats how
he got involved with Bud Herseth and all those guys in Chicago. Dale Clevenger the
french horn player, in fact went out to dinner once and i remember all of us, it was nice.
trumpet playing?
He was always practicing for his classical playing. I never saw him, unless it was a
crazy ass chart with crazy changes, i only saw him practice classical.
I havent heard him, but i know he must of done it because he was practicing all night
sometimes. He had an apartment on East 52nd street and 2nd Avenue. It was a duplex,
and he could practice all day and night. He had that multiple mouthpiece thing too, he
had it figured out. He hung out, i know some of his friends. Im friends with them but not
like he was. These are brilliant people. Brilliant people liked him because he was
because he was so brilliant and because not only was he brilliant but he had a finger on
humanity. My wife and i went to meet him in Burma on vacation, and i even never knew
45
the extent of that concept humanity. We went up into the mountains in Burma, not too
many tourists, thats when we went. This was about two or three years ago. We wanted
to hit it before the tourist curve. We went up into the mountains and we were hanging
out with a small farm village where there was old school Shaman, where he as the
leader. You know, old cat, he must of been high on something. And he dug me because
i told a couple of jokes during the thing, and we had an interpreter. Like the joke, they
asked me whats it like in New York with all the electricity and what happened when all
the lights went out. They knew there was a blackout. I don't know the scientific thing
behind it but all i know is nine months later a lot of babies were born. And the cats they
ate that up, they ate it up (laughter). So i was on the inside right away man. They fell
out, they fell out. All these cats were sitting on massive turbans and they had the loin
clothe and shit, falling out. Its all humanity, so anyway we go out and theyre doing
some primal kind of shit. Dancing and a couple of rhythm instruments, maybe
somebody had a flute. And i said of all the cats in the world i know if Lewie had his horn
here hed be able to sit in with these cats and they would love him. And thats when i
said oh the humanity man, this cat understands, he had a worldly, universal concept of
humanity. I miss him dearly. I miss him dearly. But even i had to have that epiphany,
he's my best buddy. He was. The beauty with Lewie was that everybody felt like they
were his best buddy. In fact, at the burial somebody gave a speech. This was a very
famous oncologist researcher. He developed cures for breast cancer, shit like that. Hes
giving the eulogy, he says Well, i pride myself in at least maybe being in the top ten of
his friends. And thats how we feel. We were supposed to come here (Jazz Standard)
that Monday, he died on a Friday night or Saturday and then they had him buried
46
already, BOOM. So we were supposed to come here and play that Monday night and he
was already in the ground. But the point is this, he was my best friend. He knew that for
me he was my best friend, but he had everybody was his best friend.
Oh, thats a big one. And we had a lot of stuff i cant share (laughter).
I only knew him personally for a month and we would always talk between sets,
Sure i do, i remember the whole thing. Lewie and I were on the phone everyday man.
No, this guy Alan Rubin introduced us to each other in 1967, eight or nine. And i
remember we were coming out of the Vanguard and from then on we just, by the time
we crossed the street we were on the phone all the time. I used to talk him up, when he
lived in New Bedford hed be driving, he had a couple of Maximas and i would talk him
home other wise this cat would space. Every night man he would drive home from the
gig and we were on the phone the whole night until he got home. Yea, we were that tight
man.
There was also another genre i wanted to talk about. Did he play with Eddie
Palmieri?
Sure, he did a lot of latin stuff. He played with everybody. In fact i just saw myself, i
didnt realize im on a Tito Puente album. I guess he was too. A lot of times he would
What are some of your favorite recordings or solos of Lew, or you recommend to
go check out?
The Priestess record, the Gil Evans Priestess record. Great, great record. He did a
record of Bach with his jazz group, that would be a good one. He had several solo
albums. I did Soldiers Tale, Stravinsky and its on a label but you cant find it. Its in
Japan, when i went to Japan i found it. Its all in Japan, you cant get em here. I hope i
New York
Maryanne Bean Bag 55559 [CD]
New York
Show of hands Bean Bag 55559 [CD]
(ts) Pepper Adams (bar) Danny Bank (bassax,pic) Michael Abene (p) Joseph Beck (g)
Don Payne (b) Donald McDonald (d) Johnny Pacheco (cga,tamb,shaker)
Note:
The above also on Atlantic (Eu)2464008 entitled "Freaky".
Copacabana Night Club, New York, April 22, 23 & 24, 1968
25133 Do I hear a waltz ? Cap ST105
25134 By the time I get to Phoenix -
25135 Reason to believe -
25136 Didn't want to have to do it -
25137 My personal property -
25138 Hand on the plow -
25139 Until it's time for you to go -
25140 Something stupid -
25141 What is a woman ? -
25142 Alright, okay, you win -
25143 Here's to you -
25144 Come back to me -
Note:
Capitol ST105 did not make it to record stores; Ms. Lee, unhappy with its mix,
requested that it not be distributed.
All above titles also on The Entertainers/Promo Sound 346AAD [CD] titled "The
Entertainers : Peggy Lee In Concert".
All above titles also on Collector's Choice Music CCM2070 [CD] titled "Two Shows
Nightly".
50
For sessions from September 5 & 6, 1971 see Colorado Jazz Party.
Roger Glenn (fl) Grant Reed (sax) Neal Creque (p,el-p) Eric Gale (g) Israel "Cachao"
Lopez, Chuck Rainey (b) Don Alias, Bernard "Pretty" Purdie (d) Mongo Santamaria
(cga) Julito Collazo, Angel Allende (latin perc) Armando Peraza (bgo,cga) Marty Sheller
(cond) Cissy Houston, Sylvia Shemwell, Judy Clay, Myrna Smith (vcl background)
dubbed in December 17, 1970 : Ray Maldonado (tp-1) Roger Glenn (fl-1,vib-1) Grant
Reed (sax-1) Marty Sheller (dir-1) dubbed in November 18, 1970 : Lew Soloff (tp-2)
Roger Glenn (fl-2) Grant Reed (ts-2) Neal Creque (p-2) Marty Sheller (dir,cond-2)
Simba : Jon Faddis, Ernie Royal, Lew Soloff, Burt Collins (tp) Bill Watrous (tb) Eddie
Daniels (reeds) Warren Bernhardt (el-p) O'Donel "Butch" Levy (g) Tony Levin (b) Steve
Gadd (d) Jimmy Madison (perc)
1974
Carnaval (... vcl) Soul Jazz (E)SJR29 [CD]
Note:
Soul Jazz (E)SJR29 [CD] is a 2 CD set.
same date
28455 Jessica Atl SD1656
Note:
See March 1973/April 27, 1973 for two more titles from Atlantic SD1656.
One : Jon Faddis, Thad Jones (tp,flhrn) Victor Paz, Alan Rubin, Lew Soloff, Marvin
Stamm (tp) Wayne Andre (tb) Paul Faulise, Jack Gale, Alan Raph (b-tb) George Marge
(alto-fl,recorder) Romeo Penque (alto-fl,recorder) Max Ellen, Paul Gershman, Emanuel
"Manny" Green, Harold Kohon, Charles Libove, Harry Lookofsky, Joe Malin, David
Nadien, Gene Orloff (vln) Seymour Barab, Jesse Levy, Charles McCracken, George
Ricci (cello) David Friedman (vib) Richie Resnicoff (g) Eric Weissberg (pedal steel-g)
Gary King (b) Steve Gadd (d) Ralph MacDonald (perc) Hugh McCracken (harm) Bob
James (keyboards,ldr,arr)
Ryo Kawasaki (el-g) Don Pate (b) Bruce Ditmas (d) Sue Evans (d,cga,perc) Michael
Moore (el-b-g,b-g)
c. 1975
Livin' in the sunlight Reprise 2220, Warner (Jap)WPCP-3633
Gee baby, ain't I good to you ? - -
99 1/2 - -
I want to be a sailor - -
Why should I love you ? - -
Higher and higher - -
Wondering why - -
Jailbird love song - -
High blood pressure - -
Tennessee blues - -
Friedman, Jeff Mironov, Lance Quinn (g) Bob Babbitt (b) Steve Gadd (d) Jimmy Maelen
(perc) Irving Spice, Louis Stone, Louis Haber, Elliot Rosoff, Robert Rojek, Ann Barak,
Guy Lumia, David Sackson (vln) Seymour Barab, Sally Rosoff, Jesse Levy (cello)
Seymour Berman, Julien Barber, Ellen Rojek (viola) Cissy Houston, Maeretha Stewart,
Albertine Robinson (backing vcl)
Bellavia - -
Dance of the windup toy - -
Torreano (1) - -
Note:
All above titles also on A & M (Jap)GP-277.
same date
EPA1-1207 There comes a time (mhp vcl) (*) RCA APL1-1057, Bluebird
5783-2-RB [CD]
Note:
Sweetened April 25, 1975.
(*) According to liner notes of Bluebird 5783-2-RB [CD], several selections appeared on
RCA APL1-1057, many in substantally different form.
c. 1976
Domelo [Give it to me] Polydor PD1-6091
Baby I need your love -
Higher -
The memory -
Come out and play -
Better days -
Searchin' -
One sweet love to remember -
Vibrations -
Movin' Groovin' -
Baby you give me a feeling -
65
Note:
All above titles also on Verve 0602517654334 [CD] titled "Vibrations".
Note:
All issued titles also on Beat Goes On (E)BGOCD962 [CD] titled "Speak No Evil/Plays
And Plays And Plays"; a 2 CD set.
Storm at sunup - -
Love me now - -
Yearnin' and learnin' (re arr) - -
Note:
All titles from RCA Victor APL1-1503 also on RCA (Jap)RVP-6095.
All above titles also on Beat Goes On (E)BGOCD962 [CD].
Multiplication (1,2,3) - -
Note:
Columbia CK46864 titled "Ginseng woman/Multiplication".
All above titles also on CBS (Jap)25AP-844.
[M169] Machito
Victor Paz, Lew Soloff, Tony Cofresi, Charles Cameleri (tp) Barry Rogers, Sam Burtis
(tb) Bobby Porcelli (as) Lou Orenstein, Mauricio Smith (ts) Mario Rivera (bar) Charlie
Palmieri (p) Andy Gonzalez (b) Mario Grillo, Ismael Quintana, Tommy Lopez, Johnny
Rodriguez, Nicky Marrero (latin-perc) Machito (vcl)
Hip walk -
Spanish flavour (1) -
Note:
(1) This title also on Rare Bird (Jap)BID156501 [CD] titled "Jazz galla concert Vol. 1";
see November 20, 1979 for the rest of this CD.
(2) This title also on Rare Bird (Jap)BID156502 [CD] titled "Jazz galla concert Vol. 2";
see November 20, 1979 for the rest of this CD.
(3) This title also on Rare Bird (Jap)BID156503 [CD] titled "Jazz galla concert Vol. 3";
see November 20, 1979 for the rest of this CD.
(el-b) Gerry Brown (d) Sammy Figueroa (perc) Norma Winstone (voice) solo voice intro,
Tasha Thomas, Cheryl Alexander, Tawatha Agee (background vcl) + string orchestra of
London Chris Hinze (arr,cond)
same locations
34947 Gospel (unissued) Atlantic
34948 John's song -
At The Royal Festival Hall : The Gil Evans Orchestra : Hannibal Marvin Peterson
(tp,chimes) Ernie Royal (tp,flhrn) Lew Soloff (tp,piccolo-tp) David Sanborn
(as,sop,sopranino,fl) Arthur Blythe (as,sop) George Adams (ts,sop,b-cl,alto-fl) John
Clark (fhr,el-g) Bob Stewart (tu,flhrn) Pete Levin (synt,clav) Gil Evans (p,el-p,arr,cond)
Masabumi Kikuchi (el-org) Herb Bushler (el-b) Sue Evans (d,perc,tymp) Tom Malone,
Howard Johnson (arr)
Sky Music : Jon Faddis, Lew Soloff (tp) David Taylor, Barry Rogers, Dave Sanborn (tb)
Lou Marini (as) Gary Anderson, George Young, Alex Foster (ts) Mike Mandel
(keyboards) Darryl Thompson, Burt Jones, Steve Khan (g) Wilbur "Dud" Bascomb, Jr.,
John Lee (b) Gerry Brown, Dave Christopher (d) Crusher Bennett, Chris Mills (perc)
Gil Evans Orchestra : Lew Soloff (tp) Earl McIntyre (tb,tu) Steve Lacy (as) Arthur
Blythe (as,sop) Pete Levin (fhr,keyboards) Gil Evans (p,el-p,arr,cond) Don Pate (el-b)
Sue Evans (d)
Broadcast, "Northsea Jazz Festival", Den Haag, Holland, July 16, 1978
Thoroughbred
Relaxin' at Camarillo
Broadcast, "Juan les Pins Jazz Festival", Antibes, France, July 21, 1978
Waltz
Variation on the misery
Thoroughbred
Listen to the silence
Stone free unknown titlesRF (F) Radio recording
Little Wing : Gil Evans Orchestra Live In Germany : Terumasa Hino (tp) Lew Soloff
(tp,piccolo-tp) Gerry Niewood (as,sop,fl) George Adams (ts,fl,perc) Bob Stewart (tu) Gil
Evans (el-p) Pete Levin (synt) Don Pate (el-b) Robert Crowder (d)
For sessions from January 11 & 12, 1980 see Lee Konitz.
All above titles also on Trio (Jap)PA-3155/56, Art Union (Jap)ART-CD14/5 [CD],
Versatile (Jap)TKCZ-79032 [CD], Absord (Jap)ABCJ-45/46 [CD], ABCJ-258 [CD].
Project S -
Move to the groove -
Passion flowers -
A time and a place [There's] -
Note:
All above titles also on CBS (Jap)25AP1596.
All above titles also on Collectables COL-CD-6896 titled "In Motion; & Expressions of
Life"; see 1980 for rest of CD.
[B2180] Gato Barbieri
Euphoria : Jon Faddis, Michel Lawrence, Lew Soloff, Jim Bossy, Ron Tooley, John
Frosk (tp) Wayne Andre, Paul Faulise, Earl McIntyre (tb) Peter Gordon, John Clark, Don
Corrado (fhr) Harvey Estrin, Phil Bodner, Dave Tofani (woodwinds) Gato Barbieri
(ts,keyboards) (keyboards-4) Eddie Martinez (keyboards) (1) Pat Rebillot (keyboards)
(2) Richard Tee (keyboards) (3) Eric Gale (g) (5) Steve Khan (g) (6) Jeff Layton (g) (7)
David Spinozza (g) (8) Lance Quinn (g) (9) Ron Carter (b) (10) Luico Hopper (b) (11)
Anthony Jackson (b) (12) Neil Jason (b) (13) Billy Cobham (d) (14) Idris Muhammad (d)
(15) Alan Schwartzberg (d) (16) Jimmy Maelen, Miguel Vadiez-Pomier, Gato Barbieri
(perc) David Nadien, Ida Kavafian, Guy Lumia, Barry Finclair, Curtis Macomber, Diana
Halprin, Naoko Tanaka, Lucy Stoltzman, Ben Hudson, Lewis Eley, Robin Bushman,
Masako Yamagita, Guillermo Figueroa (vln) Alfred Brown, Louise Schulman (viola) Fred
Sherry, Jonathan Abramowitz, Jerry Grossman, Richard Sher (cello) Gato Barbieri
(voice)
Midnight street - -
c. 1980
Gravitational forces (1) Inner City IC1113
Pavane (1) -
Galaxy dust -
Pandora -
Something from the south -
Mambo tango -
Note:
(1) These titles are modern classical pieces performed by a very large orchestra.
Lunar eclipse -
The Barbara song -
Rhythm-a-ning -
Dr. Jackle [Dr. Jekyll] -
Ezz-thetic -
Note:
Black Hawk BKH525 titled "Live at the Public Theatre, Vol.1".
Black Hawk BKH526 titled "Live at the Public Theatre, Vol.2".
All titles from Black Hawk BK525 also on Storyville (Dan)STCD5003 [CD] titled "Live at
the Public Theatre, Vol. 1".
All issued titles also on Polygram CDBKM526 [CD] titled "Live at the Public Theatre"
and also on Break Time (Jap)BRJ-5003/4 [CD].
Live At Mikell's : Jon Faddis, Alan Rubin, Randy Brecker, Lew Soloff (tp) Sam Burtis,
Dave Taylor (tb) Tony Price (tu) George Young (as,fl) Lou Marini, Lew Del Gatto (ts)
Ronnie Cuber (bar,fl) Richard Tee (p-1) Chris Palmaro (clavinet) Don Grolnick (el-p)
Tommy Michell (synt) John Tropea (g) David Spinozza (g-2) Will Lee (b) Neil Jason
(b-3) Steve Gadd, Rick Marotta (d) Jimmy Maelen (perc)
7th heaven -
Can't hide love (1) -
Just blue -
Can't have it all -
The bratt (2) -
Dreams -
Muff (3) -
Events III - -
Events IV - -
Events V - -
Events VI - -
Events VII - -
Events VIII - -
Events IX - -
Events X - -
Events XI - -
Events XII - -
Events XIII - -
Events XIV - -
Note:
Soul Note (It)SN1009 = (It)121009-1.
All above titles also on DIW (Jap)DIW-1072.
Concert "The Americana Hotel Ballroom", Rochester, N.Y., December 27, 1980
Tarantellas A&M SP6513
XIth commandment suite -
Legend of the one-eyed sailor -
Bellavia -
Hill where the Lord hides -
Lake Placid fanfare -
Things to come (1) -
'Round midnight (1) -
Manteca (1) -
My one and only love -
All blues -
Note:
All above titles also on A&M AMLM66513, (Jap)AMP-44003/4.
Broadcast, "Northsea Jazz Festival", Den Haag, Holland, July 10, 1981
Jelly rolls
Note:
"Jelly Rolls" = "Hotel me.
Randy Brecker, Lew Soloff, Alan Rubin (tp) Alan Raph, Tom Malone (tb) Carla Poole (fl)
Bob Mintzer (cl,b-cl,pic,synt,ts,d,woodwind arr,brass arr) Jaco Pastorius (el-b) Manolo
Badrena, Frankie Malabe (perc)
Englewood Cliffs, NJ, March and April 1982 & (1) Englewood Cliffs, NJ, December
1991 and January 1992
Youkali CTI R2-79480 [CD]
Englewood Cliffs, NJ, March and April 1982 & (1) Englewood Cliffs, NJ, December
1991 and January 1992
All across the city CTI R2-79480 [CD]
Englewood Cliffs, NJ, June and July 1982 & (1) Englewood Cliffs, NJ, December
1991 and January 1992
Skylark CTI R2-79480 [CD]
Note:
The March and April, 1982, recordings are from the Chet Baker "Studio Trieste"
sessions. The June and July, 1982, recordings are from Sir Roland Hanna the
"Gershwin, Carmichael Cats" sessions.
All titles from CTI R2-79480 [CD] also on CTI 67226-2 [CD], CTI (G)MA7001480 [CD],
CTI (Eu)773788 [CD], Past Perfect Silver Line (G)205712-203 [CD], CI (Jap)POCJ-1109
[CD], CTI (Jap)POCJ-2337 [CD].
Let's dance -
Manhattan Jazz Quintet : Lew Soloff (tp,flhrn) George Young (ts) David Matthews
(p,arr) Charnett Moffett (b) Steve Gadd (d)
Autumn leaves - -
Ten and eleven -
Ode to a princess - -
Uptown Ed
Enja (Jap)TKCW-32121 [CD]
Note:
All titles from Enja (G)ENJ-4096-2 [CD] also on Enja (Jap)CRCJ-1020 [CD] titled "Gin
and Pentatonic".
All above titles also on Enja (Jap) GQCP-59051 [CD] titled "Tentets".
All titles from Enja (G)ENJ-4096-2 [CD] also on Enja (Jap)TKCW-32121 [CD], Enja
(Jap)VQCD-10162 [CD].
New York, May-Oct 1985, March-Dec 1986, Jan & March, 1987
Love is a cigarette Pangaea PAN42137, PEA461158-2 [CD]
A poker game - -
Luck inverts itself; 4 swimmers - -
Gender - -
Marriage - -
American clave - -
A model Bronx childhood - -
Ah, intruder [Female] - -
Lisbon; blue request - -
My life outside of power - -
Road song - -
The first and last to love me, 2 December - -
Unobtainable days, unobtainable nights - -
Pop tangos - -
Note:
Jazz content is limited.
For a session from September-October 1987 & January-March 1988 see Conjure.
Spanish night - -
Speed demon - -
Doctor Rocker and Mr. Jive - -
Bermuda high - -
Mad Millie - -
Note:
All above titles also on GNP Crescendo GNPS2185.
The Camera Never Lies : Michael Franks (vcl) Randy Brecker, Lew Soloff (tp) Bill
Evans, Michael Brecker (ts) Earl Klugh, Steve Khan, Hiram Bullock (g) Marcus Miller (b)
+ others
Stone free -
Goodbye pork-pie hat -
Bird feathers [Bud and Bird] -
Eleven -
Note:
All of Us (It)AS28-2 [CD] is a 2 CD set.
Something grand -
Sunrise over Madarao -
One step ahead (2) -
Note:
All compositions by Hilton Ruiz.
All above titles also on RCA (Eu)PL83011.
KICJ-132 [CD]
Dear old Stockholm Paddle Wheel (Jap)K28P-6480, K32Y-6230 [CD]
Wolff pack - -
Cheese cake - -
For Alfred - -
Moanin' - -
Note:
All above titles also on Paddle Wheel (Jap)KICJ-2036 [CD], KICJ-8029 [CD].
Live, "Tokyo Music Joy '88", Gotanda Kan-i Hoken Hall, Tokyo, Japan, February
28, 1988
Listen to silence Electric Bird (Jap)K32Y-6249 [CD]
Cubano-be cubano-bop -
All about Rosie -
Manhattan -
Autumn in New York -
Pan Daddy -
Electronic sonata for souls love by nature -
Note:
"Cubano-be cubano-bop" contains a recording of Sabu Martinez from a live
performance by the Swedish Radio Jazz Group in Sodertalje, Sweden, on March 10,
1977.
Phil Bodner, Ray Beckenstein, George Young, Gerry Niewood, Lou Marini, Arthur
"Babe" Clarke (woodwinds) Margaret Ross (harp) George Devens (perc) Sammy Davis,
Jr. (vcl) Sanford Allen, David Nadien (concertmaster)
Houston Person (ts) Frank Owens (keyboards) Rodney Jones (g,el-g) Carl James (el-b)
J.T. Lewis (d) Sammy Figueroa (perc)
Frank Owens (keyboards) Rodney Jones (g) Benjamin Franklin Brown (b) Kenny
Washington (d) Sammy Figueroa (perc)
Adagio (2,5) -
Menuetto-Polacca (3,5) -
Brandenburg Concerto no. 3 in G -
Allegro moderato (4) -
Adagio (4) -
2nd Allegro (5) -
Brandenburg Concerto no. 5 in D -
2nd Allegro (6) -
Note:
Jazz content may be limited.
All above titles also on Alfa Jazz (Jap)29R2-37 [CD], ALCR-28 [CD].
Cosmic phriends - -
Concert "Alice Tully Hall - Lincoln Center", New York, June 3, 1989
Main score (part 1) Columbia C2K45428 [CD]
Percussion discussion -
Main score (part 2) -
Started melody -
The soul -
Ballad [In other words I am three] -
Moods in mambo -
(Medley :) -
130
Self portrait -
Chill of death -
O.P. -
Please don't come back from the moon -
Monk, Bunk and vice versa [Osmotin'] -
Peggy's blue skylight -
Wolverine blues -
The children's hour of dream -
Freedom -
Interlude [The underdog rising] -
Better get it in your soul -
Noon night -
Main score (reprise) -
Note:
The above listing of tunes is in the original concert order. Gunther Schuller, in the CD
brochure, admits to changing the concert order for the issued records because at the
concert "Better get it in your soul" had made the finale seem like an anti-climax.
All above titles also on CBS (Au)466631-2 [CD] titled "Epitaph".
All above titles also on Sony (Jap)CSCS-5211/12 [CD], Columbia Legacy
88697-97959-2 [CD].
[D228] Dade
In The Shade : Lew Soloff (tp) David Taylor (b-tb,vcl) Pete Levin (synt) Jeff Laibson (p)
David Weissbrot (g) Mark Egan (b) Danny Gottlieb (d) David Drubin (d-1) added
Bela vista -
Matchbox -
Encanto meu -
Waiting for me -
[D229]! Dade
same pers.
WVIA Radio Station, remote, Wilkes University, Wilkes-Barre, PA, April 3, 1990
Good King Wenceslas Chiaroscuro CR(D)332 [CD]
Note:
Other titles by other leaders.
same dates
Sassy Columbia CK47079 [CD]
Note:
Same vcl personnel as listed above with the accompanying musicians as listed below
for subsequent tunes.
Little Wing -
Note:
All above titles also on Sweet Basil (G)660.55.015 [CD], (Jap)ALCR-127 [CD],
APCZ-2012 [CD], TECW-20783 [CD].
Wycliffe Gordon, Michael White (cl-4) Steve Nelson (vib-2) Andy Stein (vln-2) Paul
Meyers (g-1) David Berger (cond)
Note:
All above titles also on Verve (Jap)POCJ-1144 [CD].
same dates
Love for sale One Voice (Jap)VACV-1003 [CD]
same dates
All of me One Voice (Jap)VACV-1003 [CD]
Craig Handy, Joe Henderson (ts) Joe Temperley (bar) Ronnie Mathews (p) Christian
McBride (b) Joe Chambers (d) Don Sickler (cond)
Speak low -
Dancing girl's dreams [My sleepy baby] -
Gissha (1) -
Love me tender -
Besame mucho -
Mellow moon -
Samba de orfeu (1) -
Angel wings -
It's all right with me (1) -
City in the morning -
Papillon [Butterfly] -
Duke's days -
Note:
All above titles also on Sweet Basil 7309-2 [CD], (G)660.55.017 [CD], Bellaphon
(G)55017 [CD],
Four (5,6) -
Spanish suite : -
Pan piper -
Baile Espanol -
Will o' the wisp -
Fiesta en Noviembre -
Concerto de Aranjuez -
So what (5,6) -
Fantasie for winds, strings & jazz soloists(2,5,6) -
Apparition (2) -
Farewell (4) -
c. 1993
150
Purple Rain : Bob Belden's Manhattan Rhythm Club : Lew Soloff, Alan Rubin (tp)
Birch Johnson, Clark Gayton (tb) Lou Marini (as) Bob Belden (ts) Ronnie Cuber (bar)
Larry Goldings (org) Peter Bernstein, John Hart (g) Jimi Tunnell, Danny Dipaola (d-
programming)
Note:
These sessions included because of the jazz musicians present. Other recordings by
Manilow are outside the scope of this work.
[K3873.1] Al Kooper
Soul of a Man - Al Kooper Live : Child is Father to The Man : Randy Brecker, Lew
Soloff, Fred Lipsius, Tom "Bones" Malone (hrn) Al Kooper (keyboards,vcl) Jimmy Vivino
(g,p,vcl) Jim Fielder, Will Lee (b) Anton Fig (d) Sheryl Marshall, Catherine Russell (vcl)
Rosnes (p) Kenny Burrell (g) Dennis Irwin (b) Kenny Washington (d) Don Alias (perc)
Quincy Jones (arr) Don Sickler (cond)
Blase blase -
A horse of another color -
Any way, shape, form or fashion -
Each and every one -
No ifs ands or buts -
Note:
All compositions and arrangements by Galt MacDermot.
Tapajack -
Tough guy (ra vcl,1) -
Road song -
Drink and blather (ra vcl) -
Englewood Cliffs, NJ, June 13, 15 & 17 and July 5 & 6, 1995
Dearly beloved Alfa Jazz (Jap)ALCB-3902 [CD]
All the way (1) -
Days of wine and roses -
All through the night -
Singing in the rain -
The crying game (1) -
Wild is the wind (1) -
So in love -
Blue moon (1) -
That's entertainment -
Can you feel the love tonight (1) -
Be a clown -
Planet robin -
She ate the fly -
I'm just feelin' it now -
Rough at first -
Lonesome bus -
Buck tempo -
Another turn in the road -
More bad times -
c. 1996
Love with my lovin' Wildcat (Unknown #) [CD]
Why did I choose you -
I concentrate on you -
When love calls -
165
Well anyway -
People -
Beauty and the beast -
At long last love -
What are you doing the rest of your life -
Atlantic City tonight -
Here there and everywhere -
The boy next door -
Autumn leaves -
Song for my people -
Tu -
Tu mi delirio -
No te importa saber -
Duerme negrita -
Portraits of Cuba -
Excerpt from "Aires tropicales" -
Mariana -
Como arrullo de palmas -
Echale salsita -
Song to my son -
Theme from "I love Lucy" -
Note:
All above titles also on Chesky JD145 [CD].
Permanent wave -
Who will rescue you ? -
Note:
(*) Recorded live at "Chiesa San Francesco Al Prato Church", Umbria Jazz Festival,
Perugia, Italy.
Watermelon man -
Carioca -
Oye como va -
Historia de un amor -
Bonita Rosita -
Nica's dream -
Don't speak -
Up from the skies -
Born on the bayou -
Tout va'lews -
Stairway to Heaven -
Frog legs -
[P6845] Pucho
How'm I Doin' : Pucho & His Latin Soul Brothers : Lew Soloff (tp-1) Kenny Rampton
(tp-2) Al Pazant (tp-3) Gerald Brezel (tp-4) Fred Wesley (tb-5) Dave Valentin (fl-6,alto-
fl-6) Eddie Pazant (as,bar) Eric Alexander (ts-2) John Spruill (p,org) Marvin Horne (g)
Tony Velez (tres-g-7) Louis Kahn (vln-3,tb-8) Tehrin Cole (el-b-5) Harvie Swartz (b-9)
Tyrone Govan (d) Ernesto Colon (bgo,bell,perc) Santos Rivera (cga) Pucho (timbales)
Bill Evans (sop,ts,fl) Chris Hunger (as,fl) Chip Jackson (b) Terry Silverlight (d) David
Matthews (arr,cond)
Coreatown -
Rise and fall of the glass reich -
Loyolita -
Sonny smiles (1) -
Stamford, CT, Warwick & North Salem, NY, May & June 2000
Vans joint Escapade 4901 [CD], Jazzhead (Aus)HEAD024 [CD]
Cool Eddie -
Lose my number (lm,vt vcl) -
Checks -
You sure look good to me (lm,vt vcl) -
Big mama -
Sneaky -
Gimme some -
Older days -
Thump -
The shorty shuffle -
Note:
Jazzhead (Aus)HEAD024 [CD] titled "Bailey's Melbourne Jazz Festival 2001.
Dreamworld (2,7) -
Prelude to love (5) -
Danza d'amore (3,5) -
Zanzibar -
Black Dahlia (1,2,8) -
The edge of forever -
[Last night at the Hacienda Club] (4,6) -
101 north -
Elegy -
City lights (2,6,8,9) -
Prayer (2,6,8,9) -
Procession (2,6,8,9) -
Ascension (2,6,8,9) -
Harbor hotel -
Feel like makin' love -
(strings) Bob Magnusson, Chuck Berghofer (b) John Guerin (d) Tina Tyrell, Lauryn
Tyrell, Dorian Holly, Marlena Jeter (vcl) Nick Tyrell (dialogue)
N.Y. is my love -
(fhr-1) Lawrence Feldman (as,sop,fl) Wolfgang Puschnig (as,fl) Andy Sheppard, Craig
Handy (ts) Gary Smulyan (bar) Carla Bley (p) Karen Mantler (org,glockenspiel) Steve
Swallow (el-b) Billy Drummond (d) Don Alias (perc)
Wiggle -
Angry mans dance -
Temptation -
Tipsy -
Trust in me -
I'll see you in my dreams -
The Manson look -
A white shade of pale -
Lil' brother -
Lover hurts -
If 6 was 9 (lsj vcl) -
Heaven on Earth -
I want a man like Joe Pesci -
Fleming, Ron Carter (b) Lewis Nash, Rick Montalbano (d) Michael Buble (vcl) collective
pers.
Besame mucho -
Summertime -
c. 2005
Look at what you've done for me Emerittus Recordings (No #) [CD]
How insensitive [How insensitive] -
You don't know what love is -
Fade to black -
Alone together -
Consider me gone -
Moon and sand -
We'll be together again -
Awful coffee -
Appearing nightly at the Black Orchid -
40 on / 20 off -
Second round -
What would you like to hear ? -
Last call -
Someone to watch -
I hadn't anyone till you -
c. 2007
Alfie Polystar (Jap)MTCJ-3044 [CD]
Raindrops keep falling on my head -
Do you know the way to San Jose -
The look of love -
What the world needs now is love -
Close to you -
Wives and lovers -
A house is not a home -
Arthur's theme -
God give me the strength -
I'll never fall in love again -
This guy's in love with you -
That's what friends are for -
Footprints -
Walkin' -
Miles Davis marathon session medley -
Blues by five -
Four -
Oleo -
Well you needn't -
Groovin' -
c. 2009
Return to reason Vermicious Kind Music (unknown #) [CD]
Compass -
No worries -
Wit of the staircase -
Recordame -
Giant steps -
Word for word -
Just friends -
Minor league -
Knuckle down -
c. 2009
Yo (No Label or #) [CD]
Wild! -
c. 2009
Nature boy Joey Berkley (no #) [CD]
Push -
Naked flight -
Unsung -
The more I see you -
The alamo -
198
Volare -
Libertango -
La malagunea/Granada -
Sway (Quien sera) -
Taboo -
Passion fruit -
(euph) Earl McIntyre (tu,tb) Howard Johnson, Bob Stewart (tu) Warren Smith (vib,tamb)
Vinnie Johnson, Vince Cherico (d) Joe Gonzalez, Roland Guerrero, Victor See Yuen
(perc) Renee Manning (vcl) David Amram (cond)
The floater -
Slow and easy -
A profound gass -
Brief and breezy -
My Manne Shelly -
Blue steel -
Blues for Mother's -
Spook -
Peter Gunn theme (reprise) -
[N3225.20] Oz Noy
Twisted Blues Vol. 2 : Oz Noy (g,el-g) with collective pers.: Lew Soloff (tp) John
Medeski (org,el-p) Gregoire Maret (hca) Eric Johnson (el-g) Will Lee (el-b,tamb,hca,vcl)
Roscoe Beck (el-b) Keith Carlock (d)
Stamford, CT, March 25, June 2, August 8 & October 7 & 8, 2013
You dig Abstract Logix 043 [CD]
Rhumba tumba -
Come let me make your love come down -
Come dance with me -
EJ's blues -
Get down -
Blue ball blues -
Just groove me -
Slow grease -
Freedom jazz dance -