2020

Another way to join KSDS San Diego's Jazz 88.3 is with the listening stream. There's the KSDS APP. Please search 'KSDS Jazz' in your respective Google or Apple store.

Her legend includes being Miles Davis' favorite singer, worthy praise from a master musician who didn't offer such things lightly.  Shirley Horn had an exquisite voice...a dusty, warm sound of her own, with plenty of swing and soul.  Her style utilized the space that Davis sought in much of his own music.  Horn was one of those rare musicians who was both master of her internal instrument, her voice, and master of her external instrument, the piano.

Her piano sensibility for jazz grew on top of her foundation in classical music.  At one point in her early life, she was accepted to The Julliard School of Music, but her mother put the brakes on her daughter going off alone to New York City.  Her ears turned to jazz and she said, "Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy."  She would record her first jazz album in 1960, "Embers And Ashes" for a small label in New York City.  That was the album that caught the attention of Miles Davis.  His invitation to play between sets during his stints at the famed Village Vanguard raised her profile significantly and she was signed by Quincy Jones to Mercury Records in 1962.

Shirley Horn would go on to record 25 albums as a leader, including collaborations with Miles Davis, earning nine Grammy Award nominations.  In 1999, her tribute album to her friend Davis earned her the Grammy Award for Best Jazz Vocal Performance.   In 2005, months before her death, she was honored by the National Endowment for The Arts as an NEA Jazz Master. 

With one of the most distinct and recognizable voices in jazz, singer and pianist Blossom Dearie entertained audiences for nearly 55 years.  She hit the scene just after high school singing with the Woody Herman Orchestra's Blue Flames and Alvin Rey's Blue Reys. 

Dearie embarked on a solo career and, after some time in Paris, came back to the United States to record a half dozen albums for Verve Records from 1957 to 1960.  These included her self-titled debut, as well as the classics "Give Him the Ooh-La-La" and "My Gentleman Friend." Her wispy, almost child-like voice set her apart from other singers and she worked with vocalist King Pleasure and longtime friend Bob Dorough.  She even shared the bill with Miles Davis at The Village Vanguard.  The 1970s would see a whole new generation introduced to her through the children's television program "Schoolhouse Rock."  Dorough was doing much of the music for the series and Dearie would appear on several songs, among them "Unpack Your Adjectives" and "Figure Eight."  The project "Multiplication Rock" with Dorough and other earned a Grammy nomination in 1973 for Best Recording for Children.

Not only was she a successful player and singer, she was also a pioneer in the record industry, by launching her record label Daffodil Records in 1973...she was the first woman to do so. Her early love of performing in intimate nightclubs continued through the remainder of her life.  Dearie performed her last live show at the age of 82.  Her voice continues to be one of a kind.

Julie London was one of the most versatile and talented women of her generation.  Her more than forty-year career showcased her gifts not only as a singer, but also as an actress.  Her film career spanned 35 years and included starring roles alongside Robert Mitchum and John Cassavetes. A later generation would know her by her role in the television show "Emergency."  The show ran for six years and London's lead character, nurse Dixie McCall, appeared in every episode.  

As a singer, London began in nightclubs in Los Angeles while still a teenager.  Her vocal style has often been described as sultry and low-key...that was the style that lead to her first hit in 1955, the classic "Cry Me A River." The song went to #9 on the U.S. record charts and the album it was on, her debut recording "Julie Is Her Name," peaked at #2 on the charts.  London had firmly made her mark and was named Billboard magazine's Most Popular Female Vocalist in 1955, 1956, and 1957.  Throughout the late 1950s and 1960s, she balanced a busy schedule of singing, appearing in multiple films, and guest starring on popular television shows.  During this time, she recorded 29 studio albums for Liberty Records, as well as live recordings.

When considering the breadth of her career, it's somewhat surprising that she was also noted as an introverted and very private person.  But, when viewing the list of artistic endeavors and her success in each of them, Julie London's legacy speaks for itself. 

March is Women's History Month and KSDS-FM is celebrating by shining the spotlight on listener's favorite female vocalists. Listen every weekday throughout the month to hear daily musical features with some of the greatest singers in Jazz history, counting down to your number one favorite. For details about each singer go to the KSDS Blog to learn more. 

February 28, 2020- Today's BHM topic is: Central Avenue

From the beginning of the 20th Century, Los Angeles’ Central Avenue was the main thoroughfare of the African American Community. The Avenue itself stretched from downtown all the way to Watts. In the early years the black community was located around 12th and Central where the burgeoning African American music business was headquartered at The Spikes Brothers Music Store.

By World War II the center of the black community had moved further south. The black population of Los Angeles grew substantially during the war with people coming west to work in the defense plants. There were black owned businesses of all kinds up and down the avenue. The locals referred to it as “the main stem.” It was a city within the city, a very tight knit community that had tremendous cultural pride.

Defense workers had money in their pockets and there was a large nightlife district that provided entertainment around the clock. It was all centered around 42nd and Central. The classy Hotel Dunbar was the central attraction. The Club Alabam was the showplace of the avenue with floor shows, chorus girls and a house band that could hold its own against anybody.
Almost all African American celebrities that came to town stayed at the Dunbar. This included traveling bands like Ellington, Basie and Lunceford. When they got off work in Hollywood or Culver City it wasn’t uncommon to find the sidemen sitting in with the locals at the many Central Ave clubs.

And there were plenty of choices.

The Elk’s Auditorium had all kinds of events including big bands and jam sessions plus the likes of T-Bone Walker or Big Jay McNeely. The Last Word featured jump bands like Joe Lutcher and Jimmy Liggins. Jazz combos were featured at The Downbeat. Wardell chasing Dexter and The Buddy Collette, Baron Mingus Stars of Swing among others.

After the festivities ended for the night at those venues the after hours joints continued on till dawn.

Alex Lovejoy’s, home of the big-legged chicken was Art Tatum’s favorite place to hangout. There was also Backstage and Brothers where you brought your own bottle. If you didn’t have one there was always a guy in the parking lot of the market at 53rd St. selling booze after 2AM.

Jack’s Basket Room also known as Bird in the Basket featured late night jam sessions and local live broadcasts. Clora Bryant, Sonny Criss, Teddy Edwards, Gene Montgomery, Art and Addison Farmer, J.D. King, Russell Jacquet and Freddie and Maurice Simon went almost every night. In addition to the music there was their famous fried chicken. If you didn’t like Jack’s chicken there was also ex-Ellington vocalist Ivie Anderson’s Chicken Shack. When Roy Porter formed his bebop big band in 1948 they rehearsed every afternoon at Ivie’s. A very young Eric Dolphy was a member of the Porter band reed section.

Jefferson High School students would drop by after school to listen. It was an amazing scene. Hollywood stars used to show up in their big limousines to hear the likes of T-Bone Walker and Johnny Otis. It wasn’t uncommon to see the likes of Dorothy Dandridge, Joe Louis, Lana Turner and Humphrey Bogart sitting ringside at the Club Alabam.

There was no racial segregation on the avenue. White patrons were welcome, especially musicians. The avenue was swinging nightly for years but totally under the radar to most Los Angeles residents. There were never mentions in the LA Times of happenings on the Avenue yet The Los Angeles Sentinel covered everything from music to sporting events and community functions.

We would know a lot less about what happened today had it not been for some local entrepreneurs who started record companies in their garages to try for the elusive jukebox hit. In doing so small labels like Aladdin, Modern, 4-Star, Exclusive, Excelsior, Bop, Dial, Bel-tone and Dolphin’s of Hollywood documented much of the music that was happening on the stem.

By the end of the forties things were changing and many of the Central Ave. clubs were closing their doors for good.

The San Diego Latino Film Festival has been CANCELLED. More information is available at sdlatinofilm.com or call 619-230-1938.

February 27, 2020- Today's BHM topic is: Charles Mingus- 1945-1949

Mingus in Los Angeles 1945-1949 Charles Mingus was born in Nogales, Arizona in 1922 but grew up in Los Angeles. He was interested in music from a very early age and began studying with a variety of teachers most notably Lloyd Reese and later Red Callender. He gravitated to a like-minded group of friends that included Buddy Collette and Britt Woodman.

Mingus was very serious about music and practiced constantly. There were lots of jam sessions in the area and Mingus sat in as often as possible. He would play the bass anywhere he could including trips across town on the street car. In addition to his serious demeanor when it came to music he was also rebellious and ready to fight at the least provication. He was especially concerned with racial segregation and was instrumental in the formation of the Interracial Symphony that helped lead to the amalgamation of the black and white musicians unions.

One of his first regular jobs was in the band of Al Adams followed by short stints with Louis Armstrong and Les Hite. In 1942 his friends left for active service in WW II but Mingus elected to
stay in Los Angeles.

He spent 1943 in Lee Young’s house band at the Club Alabam on Central Ave.

In 1945 he formed his own group called The Strings and Keys.

In 1946 his friends returned from the service and formed The Stars of Swing that worked Central Avenue's Downbeat Club.

He took on the nickname of “Baron” Mingus and began composing and arranging. During the mid to late forties he recorded with five different record labels that had sprung up on the west coast after the war. This included Excelsior, 4-Star, Dolphins of Hollywood, Fentone and Rex. He also appeared as a sideman with a number of artists including Ernie Andrews, Wynonie Harris, Illinois Jacquet, Dinah Washington and Howard McGhee.

In 1947 he began working with Lionel Hampton and was featured on “Mingus Fingers” which was recorded for Decca.

Some of the music he wrote in the forties wasn’t recorded until many years later including "Half Mast Inhibition" and "The Chill of Death." Half Mast Inhibition was written as early as 1941 but not recorded until 1960. Chill of Death was written around 1947 but not recorded until 1971.

His 1940s recordings are just as unique and forward looking as his more familiar classics that came along later.
 

February 26, 2020- Today's BHM topic is: Buddy Collette- The Early Years

Buddy Collette was one of the most influential musicians on the Los Angeles Jazz scene going back to the early 1940s. He attended Jordan High School where he met several other
musicians who would play an integral role in his career. Most notably Charles Mingus and the Woodman Brothers.

The Woodman’s were professional musicians even at that young age and were inspirational to Buddy, especially the fact that they all played multiple instruments. Britt Woodman was closest to Buddy in age and the two were lifelong friends and associates.

In addition to Buddy’s musical studies in school he also began taking lessons from the legendary Lloyd Reese. Buddy and Mingus practiced together constantly and started working
around the Watts area. Buddy worked professionally with the Al Adams band and the Cee Pee Johnson’s band.

Just as his career was beginning to take off he enlisted in the Naval Reserve and was put in charge of one of the musical units. After the war Buddy was able to use the GI Bill to attend both the California Academy of Music and the American Operatic Laboratory. He also continued his private studies and worked on mastering multiple reed instruments.
At the same time he and Mingus formed a short-lived but forward looking group called "The Stars of Swing." In addition to Collette and Mingus the group included Lucky Thompson, Britt Woodman and Chico Hamilton. They worked the Downbeat Club on Central Ave. but never recorded.

Los Angeles was home to the film studios which provided high paying jobs to musicians working on the soundtracks. These jobs historically had been off limits to African American musicians with a few exceptions.

Both Collette and Mingus were concerned with the segregation and inequality that went along with being a black musician on the west coast at that time. It came to the forefront when Mingus became enraged after being hired to work in a band backing Billy Eckstine at the million dollar theater and finding he was the only black musician in the band. They decided to do something about it.

At that time Los Angeles had two musicians unions..a white local and a black local. There was much inequality between the two so Buddy, Mingus, Red Callendar and Marl Young decided to try to merge the unions into one. Concerned musicians both black and white formed “The Interracial Symphony” which performed at The Humanist Hall on 23rd and Union. The group got a lot of publicity and support from the likes of Nat King Cole, Harry Sweets Edison and Frank Sinatra.

The success of the Interracial Symphony helped lead to the amalgamation of the two unions. In the early fifties, Jerry Fielding hired Buddy Collette to play in the studio orchestra for The Groucho Marx You Bet Your Life TV show. It was the first time an African American was hired as a full-time studio musician and opened the door for others to follow. From that point forward Buddy was in-demand as a musician in many different settings. During the 1950s he was one of the key figures of the west coast jazz movement both as a leader and as a member of the ground breaking Chico Hamilton Quintet.

He was a beloved musician, teacher and catalyst for change. Buddy Collette passed away in 2010 but his legacy is still felt heavily throughout Southern California and beyond.