Saturday, August 15, 2020

Trubute To Richie Cole

Richie Cole and I at the Selmer Week exhibition at Steinway Hall, NYC, 2011

I only recently learned that alto saxophonist Richie Cole passed away on May 2nd at the age of 72.  He had apparently died in his sleep of a heart attack.  At the time of his death, he had relocated to Pittsburgh and had reset his career.  I had the pleasure of meeting Richie in 2011 when Selmer displayed their newest line of saxophones as well as the final incarnation of their Reference 54 "Bird" series saxophones.  I was trying out the various saxophones and Richie had introduced himself to me as I was playing random tunes on the dozens of saxophones that were on display.  A large number of other players and people in musical instrument sales were there as well, and Randy Jones of Tenor Madness was there and had set up a table for quick adjustments of the saxophones if needed. Richie had asked me which horns of all the horns I tried, which one I liked best.  He was just an all around nice guy, great sense of humor because we also joked about a lot of things, and of course, one hell of a great alto player.

Cole was born in Trenton, New Jersey.  He began the saxophone at age 10 encouraged by his father who had owned two jazz clubs in New Jersey.  This gave him the opportunity to meet some of the greats in the music.  At 16 he attended a jazz camp being taught by the late great Phil Woods, who was a mentor to him.  He had won a scholarship from DownBeat magazine to attend the Berklee School of Music in Boston. Before finishing however, he had joined Buddy Rich's Big Band, no small feat for such a young man since Buddy was known to be a perfectionist and tough task master.  After working with Lionel Hampton's Big Band and Doc Severinsen's Big Band, he formed his own quintet and toured worldwide, developing his own "alto madness" bebop style in the 1970s and early '80s. He formed the Alto Madness Orchestra in the 1990s.

 Cole performed and recorded with Eddie Jefferson, Nancy Wilson, Tom Waits, The Manhattan Transfer, Hank Crawford, Freddie Hubbard, Eric Kloss, Bobby Enriquez, Phil Woods, Sonny Stitt, Art Pepper, and Boots Randolph.  It was his relationship with Eddie Jefferson which was his primary focus until it was ended by the singer’s murder in Detroit in May 1979, which Cole witnessed.  For Cole, Jefferson’s death touched off a long battle with alcoholism.  He spent much of the ’80s and early 1990s living a nomadic existence, stopping off for periods in Los Angeles, San Francisco, Las Vegas, and Chicago. In the late ’90s, he returned to the East Coast, where he formed a new seven-piece band, the Alto Madness Orchestra. Cole made his final move to Pittsburgh, where his daughter lived. He quickly became an advocate for the city’s jazz scene, working and recording with local musicians and supporting them tirelessly in his interviews and album notes. His first album for his self-formed label, Richie Cole Presents, was titled Pittsburgh. The Pittsburgh version of his Alto Madness Orchestra accompanied Cole on all of his final six albums, the last of which was 2018’s Cannonball.

Cole is survived by his two daughters, Annie Cole and Amanda (“Amy”) Marrazzo, and by four grandchildren: Ricky and Julian Barajas and Emily and Abby Marrazzo.



Discography:

As leader

  • Trenton Makes, the World Takes (Progressive, 1976)
  • Starburst with Reuben Brown Trio (Adelphi, 1976)
  • Battle of the Saxes with Eric Kloss (Muse, 1976)
  • New York Afternoon with Eddie Jefferson (Muse, 1977)
  • Alto Madness with Eddie Jefferson (Muse, 1978)
  • Keeper of the Flame with Eddie Jefferson (Muse, 1979)
  • Hollywood Madness with Eddie Jefferson, The Manhattan Transfer (Muse, 1979)
  • Side by Side with Phil Woods (Muse, 1980)
  • Cool 'C' (Muse, 1981)
  • Tokyo Madness (Seven Seas/King [Japan], 1981)
  • Alive! at the Village Vanguard (Muse, 1981)
  • Return to Alto Acres with Art Pepper (Palo Alto, 1982)
  • The Wildman Meets the Madman with Bobby Enriquez (GNP Crescendo, 1982)
  • Yakety Madness! with Boots Randolph (Palo Alto, 1983)
  • Alto Annie's Theme (Palo Alto, 1983)
  • Some Things Speak For Themselves (Muse, 1983)
  • Bossa Nova Eyes (Palo Alto, 1985)
  • Pure Imagination (Concord Jazz, 1986)
  • Popbop (Milestone, 1987)
  • Signature (Milestone, 1988)
  • Bossa International with Hank Crawford (Milestone, 1990)
  • Profile (Heads Up, 1993)
  • Kush: The Music of Dizzy Gillespie (Heads Up, 1996)
  • West Side Story (Venus [Japan], MusicMasters, 1996)
  • Trenton Style (Jazz Excursion, 1998)
  • Pure Madness (32 Jazz, 1999) compilation
  • Come Sunday: My Kind Of Religion (Jazz Excursion, 2000)
  • A Tribute to Our Buddies (Fresh Sound, 2004)
  • Back on Top (Jazz Excursion, 2005)
  • A Piece of History (Jazz Excursion, 2006)
  • Rise's Rose Garden (Jazz Excursion, 2006)
  • The Man with the Horn (Jazz Excursion, 2007)
  • Live at KUVO 2/11/08 (Jazz Excursion, 2008)
  • Bebop Express (Jazz Excursion, 2008)
  • The KUVO Sessions, Volume 2 (Jazz Excursion, 2009)
  • Castle Bop with Emil Viklicky (Multisonic, 2011)
  • Vocal Madness with Uptown Vocal Jazz Quartet (House Cat, 2014)
  • Breakup Madness (Akashic, 2014)
  • Mile Hi Madness (Akashic, 2015)
  • Pittsburgh (Richie Cole Presents, 2015)
  • Plays Ballads and Love Songs (Richie Cole Presents, 2016)
  • Have Yourself an Alto Madness Christmas (Richie Cole Presents, 2016)
  • The Many Minds of Richie Cole (Richie Cole Presents, 2017)[5][6][7]
  • Latin Lover (Richie Cole Presents, 2017)
  • Cannonball (Richie Cole Presents, 2018)
  • The Keys of Cool with Tony Monaco (Richie Cole Presents, 2019)

As sideman

With Greg Abate

  • Dr. Jekyll & Mr. Hyde (Candid, 1995)

With Les DeMerle

  • You're the Bop! A Jazz Portrait of Cole Porter (Summit, 2001)

With Allan Harris

  • The Genius of Eddie Jefferson (Resilience Music Alliance, 2018)

With Jim Holman

With Freddie Hubbard

  • Back to Birdland (Real Time, 1982; Drive Archive, 1994; West Wind, 2002)

With Eddie Jefferson

With Vic Juris

With Peter Lauffer

  • Keys to the Heart (Peter Lauffer/CD Baby, 2010)

With The Manhattan Transfer

With Karen Marguth

  • A Way With Words (Wayfae Music/CD Baby, 2013)

With Mark Murphy

  • Bop For Kerouac (Muse, 1981)

With Oliver Nelson

With Anita O'Day

  • Big Band at Carnegie Hall (Emily, 2009)

With Don Patterson

With Buddy Rich

  • Keep the Customer Satisfied (Liberty 1970)

With Red Rodney

With Janine Santana

  • Soft as Granite (Janine Santana/CD Baby, 2008)

With Sigmund Snopek III

  • Virginia Woolf (Gear Fab, 2000)

With Sonny Stitt

  • Just in Case You Forgot How Bad He Really Was [live; rec. 1981] (32 Jazz, 1998)

With James Van Buren

  • Live at the Kasbah (Van Buren Records and Tapes/CD Baby, 2003)

With Patrice Villastrigo

  • Golden Orchid (Skinny Llama/CD Baby, 2010)

DVDs

  • From Village Vanguard [includes both the Johnny Griffin Quartet and the Richie Cole Group (a quintet) in two separate sets/performances; recorded 1981] (2004)
  • Eddie Jefferson in Concert Featuring Richie Cole: Live from the Jazz Showcase Recorded at Joe Segal's Jazz Showcase in Chicago on May 6, 1979 (50 minutes)
  • Jazz Legends Live! – part 9 of 13 in this series, starring Dexter Gordon, Gary Burton, Billy Cobham, Ahmad Jamal, Carmen McRae, and Richie Cole (1 song - "Confirmation" - 4 minutes)
  • Cool Summer [includes both the Stan Getz Quartet and Alto Madness (Richie's quintet with Bobby Enriquez) in two separate sets/performances at the Paul Masson Winery in California as part of the "Harvest Jazz" TV series; recorded 1981]



Thursday, August 13, 2020

I Got Dem COVID-19 Lockdown Blues



This past year I had to deal with more health problems but finally two weeks before Christmas I finally had surgery that fixed the problem that had been plaguing me for the last few years.  I was quick on the road to recovery and ready to get back out there and play again and visit the music retail and repair shops to try out more instruments to review and recommend when the world changed seemingly overnight.  As this is not a scientific or medical blog, so I won't go into things that I am not qualified to write about as far as that goes.  I may however get a little political here because it is that apsect of this whole lockdown that is effecting every musician, music student, club owner, concert promoter, theater managers, and music patrons, etc.

This "pandemic" put an abrupt halt to just about all the musical activity in the country, as well as the world.  Working musicians have found all their gigs, present and future cancelled with no indication of when they can begin to play again.  Music teachers had to cancel lessons,  schools shut down so music studies or activities shut down with them.  The only bright spot for students is that it's possible to have music instruction live online via Skype for example.  There are also plenty of online resources for music lessons and information.  

I find it a little ironic that as soon as I took care of my health problem and was ready to get back into action that other people were getting sick and I was finally feeling the best in years, and still do.  The lockdown here however was pretty severe, and for a while most stores were closed, and just a couple of markets were open and you had to stand on long lines and also find you couldn't always get what you needed because they were out.  The toilet paper run was one of the most absurd things that people did. 

In New York City, as well as in many other cities, things got worse when riots broke out and businesses were looted, burned and destroyed, and it's still happening in these cities.  This is the nail in the coffin of any city not just economically, but socially as well.  In New York City alone, many businesses not looted or burned still went out of business because they no longer had money left to operate. 

As businesses here start to re-open, they are facing obstacles from a political front as the mayor and the governor, whose names I won't mention because I despise them and they are not worthy of mention, are fining and revoking the licenses of establishments that have "violated" their rather arbitrary and not well defined rules.  Add to that, there has been no guidance from the state as to when things can get back to normal.  They keep moving the goal posts.  Some places have already closed permanently, and others will likely close soon because they can't sustain their business under the circumstances.

On the musician side of things, I know a few players who are getting back to the odd gigs, playing under limited conditions, but at least they're getting back into it even if it's a little bit.  Some players I know are doing podcasts and other online programs to keep active and to keep their name and their music out there.  Some have re-opened their repair shops and see clients by appointment and have expanded their online mail order businesses.  Then there are players who have started doing online lessons via Skype or other online sites. 

One of my old teachers Tim Price, a top player, has been doing Skype lessons for 22 years, and if you need lessons and can't see a teacher personally, or there is no one available where you live and you are serious about wanting to learn from a genuine pro, I highly recommend him.  You can inquire at:

If you are serious about learning and playing, he is the man to learn from, and as long as you have an internet connection, it doesn't matter where you are.  

If you are needing information about saxophones as well as buying saxophones and saxophone accessories, music, etc., I recommend the following:

Saxophone sales, service and repair:

https://www.jlwoodwindrepair.com/








Saxophone music:





Saxophone Manufacturers:














These links should keep you busy.  No reason to let a lockdown or limited movement keep you from pursuing your musical goals.  

I will continue to write more articles now that I am back in action I hope soon to find a way to arrange to try out new models of saxophones and revisit previous models to see how they've held up over the years.  I will also keep looking for what I consider the best saxophones that fit whatever your budget allows.  I still believe that a beginner needs not just good guidance on how to play, but that they can play on something that will not fight them but instead allow them to develop their musical skills, talent and ideas.  Of course, I will also continue to write about my opinions on various subjects, keeping in mind that they're just opinions.  

Until next time, here's hoping that you are all coping with this pandemic and lockdown as best you can!