FAVORITE RECORDINGS - TOMMY RIDGLEY - "Jam Up"

Listening to the various music radio broadcasts back in 1956 that featured Rhythm & Blues, I first heard this recording Jam-Up recorded by Tommy Ridgley and his band. After hearing this, many times it became one of my favorite recordings featuring the sound of a swinging rhythm section and wailing saxophones. As a young music student-studying saxophone and music theory, I wanted to pursue this style of playing Jazz and rhythm and blues. 

The local record shop owner saved a copy for me, knowing that this type of music was a favorite of mine. I remember at that time the recording was only available as large12 inch 78-rpm discs with a red label from Atlantic Records. Even though with the repeated playing on a vintage turntable and a dull phonograph needle, the vinyl –shellacked grooves became scratched and worn with no damage to the enjoyable sounds. During that time, I discovered some information regarding this instrumental recording plus the studio musicians and artist Tommy Ridgley. 

<> Tommy Ridgley (October 30, 1925 – August 11, 1999) was an American Rhythm & Blues singer and bandleader from New Orleans, Louisiana <>

It was in October of 1953, when music producer Jerry Wexler signed Tommy Ridgley to Atlantic Records. In early 1954, Tommy's first release for Atlantic is "Ooh Lawdy My Baby.” 

This recording by Tommy Ridgley immediately sold well in New Orleans. By the late spring of the year Tommy, recorded a blues number "Wish I Had Never" backed with a B-side jump instrumental called "Jam Up" for Atlantic records. The instrumental side took some time in reaching popularity. Early in 1955, it is a top R & B seller. The swinging tune featured saxophone solos by Lee Allen, Alvin "Red" Tyler, and other mainstays of New Orleans sessions at J & M studios is one of the driving, solid tunes ever recorded.

 Cosimo Matassa located on the corner of Rampart & Dumaine Streets in the famous French Quarter owned New Orleans’ J & M Recording Studio. 

This was the home of Rhythm & Blues, Rock & Roll, Soul, and Jazz. Many recording artists recorded their Billboard Chart hit songs from the late 1940’s through to the 1950’s.  The long list musicians such as Lloyd Price, Dave Bartholomew, Allen Toussaint, Fats Domino, Little Richard and many others became popular recording artist during the early years of Rock & Roll. 

They were all backed-up by the studio musicians known as “The Clique” this was the house-band for all productions. The rhythm section included Earl Palmer, drums, Guitarists Ernest McLean, Edgar Blanchard, Pianists Salvador Doucette, Huey’Piano’Smith, James Booker, bassist Frank Fields plus the Saxes of Lee Allen, Alvin ‘Red’ Tyler and Herb Hardesty. Dave Bartholomew trumpet player, bandleader and producer often led this razor-sharp crew of musicians at J&M Studio.

The space in the studio was very small barely to set-up a grand piano and a few microphones. A new drum style was credited to drummer Earl Palmer unleashing his version of the backbeat. “The Clique” house band recorded many Billboard Chart hit songs At least 20 years before Stax Records had Booker T and the MGs, Muscle Shoals had the Swampers and Motown had the Funk Brothers.

During the late 1980’s to the mid-90’s I had the opportunity to spend some time in New Orleans. I did some research and spoke to various musicians asking about the studio musicians that were part of J&M Studios in the early years.  Many of the players relocated to the west coast and some have passed away.  The original building of J&M Recording Studios located across from Louis Armstrong Park at 840 Rampart Street & Dumaine Streets became a Laundromat. There is a historical marker outside the front entrance, unfortunately to some visitors, aspiring young musicians will only have readers’ knowledge of the legacy, and history of what took place at J & M Recording Studio.   

STAN ROSS - SAXOPHONIST **** Memorable Moments

 Eddie 'Lockjaw' Davis & Julian "Cannonball' Adderley

Stan RossIn my recent conversation with my friend saxophonist Stan Ross, I asked him to recall his admiration for saxophonist Stan Getz plus some other moments in his career when he shared the bandstand with Eddie ‘Lockjaw’ Davis & Julian “Cannonball” Adderley. As we spoke in a relaxed atmosphere, I found that our conversation was very informative when Stan began reflecting upon his experiences with the both of them. As we spoke extensively, in addition . . . he also talked more about his meetings and sharing the bandstand with our mutual friend Larry McKenna.

“My admiration for Getz went beyond his musical pre eminence. I read as much about the man as I could get my hands on, a truly unique, deserving and colorful career. I was disappointed when Hollywood's Clint Eastwood leaned "politically correct" and made a movie eulogizing Charlie Parker called "Bird." Stan Getz's life was much more dramatic...from adolescent prodigy to early icon.

One example: Stan Getz nearly succumbing to a lung infection and while recuperating in Africa, he was skin diving to the point of exhaustion, trying to strengthen his lungs; he met the famous actress Donna Reed while she was filming a movie “Beyond Mombasa” in that location.”  

He was disillusioned with the music business in the States; Stan Getz expatriated to Denmark and naturally became the house attraction at the famed Cafe Montmarte in Copenhagen. For unexplainable reasons, curiosity and desperation being two, I arrived there on my own a few years after he returned to America. The featured player at Cafe Montmarte was now Eddie "Lockjaw" Davis; famed Jazz saxophonist extraordinaire. I introduced myself to him on his break and without me asking, he graciously said, "get your ax man and sit in." I will never forget exaltation. Here I am on the bandstand with a jazz legend blowing chorus after chorus of "What is this thing called love," trading fours and licks and desperately holding my own. A primary virtue of an artist such as, Eddie ‘Lockjaw’ Davis . . .  is to have a style, which is immediately recognized because he sounded like no one else . . . and you know that was "Jaws."  He could cook and it took no effort; and you recognized that aggressive sound immediately. I was overwhelmed by this fortuitous experience and yet felt a deep and gelid realization that I would never progress to this pinnacle.”

In addition Stan continued to recall; “about a year later I found myself next to another jazz icon; "Cannonball" Adderley at the popular "Showboat Jazz Club" in Philadelphia. I was back studying with the "Maestro" Dennis Sandole; he and Cannonball were long time friends. While visiting him at his studio, Dennis mentioned my name to him and the famous virtuoso said, "Tell him to stop in and sit in a couple of sets." Once again, I found myself in the professional's domain. Soloing with his brother Nat and saxophonist Yuseff Latiff, every ingredient blended to perfection, the rhythm section, sound, arrangements and of course the players. This is it Stan; you are in the arena, the big time. At times, I actually felt as though I would wake up in a cold sweat and this was a dream. Despite my awe and ecstasy, it was not as exciting as cooking next to "Jaws" because there were no arrangements or pattern to follow; just "cookin'" one to one.

“I guess the left hook that finally knocked me out was meeting Larry McKenna; I had heard so much about him. He and his quartet were appearing at a new supper club in the area. His reputation was in tune, he could play with technique, sound, and creativity all there. The influence of the 50's tenor sound was there but his talent transcended to originality; again, the mark of a professional and his benign demeanor augmented that. I sat in with Larry and after the break; he called me back to the stand for another set, once again a personal "high!" - Over the years, Larry has recorded albums and generated a huge following of fans within the Tri-State area of Philadelphia. Stan also talked about another favorite saxman Lee Allen. The Billboard Instrumental hit recording (1958) named "Walking With Mr. Lee" was also a favorite of mine. Since I have been visiting New Orleans in the past, I had the opportunity to visit J & M Studio located on Rampart Street in the French Quarter, this is where a majority of the hits were recorded during the early days of Rhythm & Blues, Soul and Jazz. In the near future I will feature a post on New Orleans. 

After various successful promotions of “The Battle Of The Saxes” which was started in the early 1970’s. Ray Fern, Joe Fortunato, Stan Ross and myself were known as the “Philadelphia Four Brothers”

Later the saxophones of Larry McKenna, Joe Fortunato, Bobby Borda, Dick Noble and myself made our last performance at the famous Palumbo’s Restaurant on September 30, 1991. I can recall that most of our fans still remember the enjoyable evening of HouseRockin’ sounds of the saxes and swingin’ rhythm section of The Johnny Saint All-Stars – which designated a stellar performance of

“It Don’t Mean A Thing! If . . . It Ain’t Got That Swing!”  

FAVORITE RECORDINGS - Gene Ammons - "Two Different Worlds"

  Since JAZZ is a culmination of various styles from Swing, Be-Bop, Rhythm & Blues, and Melodic Soulful Moods from the voice of a musician. I feel that it is necessary in "Passing The Baton" and share some of these audio samples in hopes to give insight to the Spontaneous, Improvisational, & Reflective shadings to the musical concept of JAZZ.

Please Note: Within the coming weeks I will be posting more Favorite Recordings that I have been fortunate to have in my collection throughout my career. Featuring Straightahead to Mainstream Saxophonists, Big Bands, Vocalists, and other musicians  that have been an inspiration to me through the years. From listening to these consumate professionals, I know that I have learned a great deal about our "American Art Form" called Jazz. 

"TWO DIFFERENT WORLDS"

Written by Al Frisch & Sid Wayne

"The Soulful Moods of Gene Ammons"

is an album by saxophonist Gene Ammons recorded in 1962

and released on the Moodsville label

GENE AMMONS

Bom April 14, 1925 - Chicago, IL  -  Died August 6,1974 - Chicago, IL

The son of famed jazz pianist Albert Ammons, he studied music at Du Sable High School in Chicago. At the early age of 18 he left Chicago to join a band led by trumpeter King Kolax. During 1944 he joined Billy Eckstine's band as lead tenor saxophonist. A few years later he had the opportunity to work with Woody Herman's band for a brief time.

Joining forces with his longtime friend saxophonist Sonny Stitt, their sax battles on the bandstand are remembered as the most exciting performances ever. Although his approach to playing the tenor saxophone has been influenced by Lester Young, he was noted for the big well-rounded sound that has been recognized for its smooth lush and tasteful quality. His tastefulness in playing a ballad has a distinctive style of feeling and improvisation that will never be duplicated.

JOE WILLIAMS - COUNT BASIE's "Blues Vocalist"

 Born December 12, 1918 Growing up in Chicago, his influence and experience was gained by singing with a gospel quartetand local bands. His professional singingcareer began in 1937 performing with bands led by Andy Kirk, Jimmie Noone,Coleman Hawkins and Lionel Hampton.During the years 1954 to 1961 he worked with Count Basie's orchestra,where his immediate success was attainedby his dramatic performance of singing ballads and powerful blues tunes that gave his audiences much enjoyment.

"Everyday I Have The Blues" and "All Right Okay You Win" was among the numerous recordings that became major hits. He is known for his bass-baritone voice that has a rich and passionate style of delivery. A tasteful performance and musical imagination is a signature of versatility that he is respected for.

 Did you know?

When performing Billy Joel's hit song

 "Just The Way You Are" Joe Williams always gave credit to

Phil Woods who played the original alto sax solo on the recording.

"Vintage 50's-60's Band Photographs" - Spotlights #5

The upstate area of New York consisted of major hotel venues that featured popular entertainment on a nightly basis. The Three Rivers Inn located in Syracuse, The Concord , Grossinger’s, Brown’s Hotel in the Catskills Borscht Belt and The Thruway hotel in Albany all hosted popular singers, Big Bands and comedians during the 1960’s.

During this time, Al Antonio & Audrey featuring the Lyrics were a popular entertaining Las Vegas Revue that featured music, variety and comedy.  We appeared at The Thruway on many repeated engagements throughout the 1960’s also performing and traveling in a circuit of hotel venues throughout Massachusetts, Michigan and Canada   

Al Antonio was a close friend of Sammy Davis Jr., and friend of jazz saxophonists Charlie Ventura, and Richie Kamuca. A talented performer, he was a comedian, who was able to play a number of instruments very well. His main show consisted of doing a theatrical rendition of A1 Jolson in black face make-up with all the props, which included special lighting techniques and set up.

Another memorable time is about an incident that occurred on opening night at The Thruway show place. In addition, it was quite a funny one at that. This incident happened on a dark night in late September 1965. What a night! (Adapted from Page #258 in “Jazz Yesterday, Today, Tomorrow”)

This is how it was: Closing night was on a Saturday evening at The Office Lounge Club, located in Louisville Kentucky. The entire band members packed their instruments and belongings’ we checked out of the hotel and all had a brief breakfast and started our journey in early Sunday morning hours to The Thruway Hotel in Albany, NY for our next engagement with a Monday night opening scheduled at 8:00pm.  We drove approximately 14 hours through the night from Louisville, Kentucky and arriving in Albany, New York early Monday afternoon. Our schedule for showtime was to start playing at 8:00pm at the Thruway Hotel. As it was still early, the props and lighting had yet to be set up on the bandstand.

After our short rehearsal of our new musical arrangements, in which we paid tribute to Duke Ellington, Count Basie, and Coleman Hawkins, all the band members pitched in to help the hotel staff technicians set up. The high-rise bandstand was equipped with various types of theatrical lighting for many effects. The manual controlled lighting effects also were automated in conjunction by the sound vibrations of played music. 

A staff technician of the Hotel asked if I could assist in making the connections to the overhead monitors on stage. As I was making the connection to these huge monitors, the electrical power in the hotel suddenly failed and everything went dark. Everyone thought that I had caused the power outage there; as we later found out that, there was no electricity, anywhere in the city. Ironically, a main generator had failed at the same interval of time (approx. 5:15pm) that I had made the connection to the monitors.

On the next day, the morning newspaper headline read "BLACKOUT IN NEW YORK."

However, the show must go on! Despite the situation, we performed two shows to a full house. The candlelight atmosphere with small generators, might have even added more to the show’s performance.

A short time ago, I received an interesting email from Alexander Durant stating that in his collection of memorabilia he had an autographed photo of the original band members of Al Antonio & The Riotmen and would I be interested in seeing this photo.  This original group went to Las Vegas to perform the early strip hotels during the late 1950’s. During this time, he became friendly with Sammy Davis Jr. and members of the Rat Pack.

Since the Thruway was a major showplace that hosted jazz vocalist Carmen McRae, Erskine Hawkins, Jimmy Holmes, and various popular big bands. Alexander Durant has shown his generosity in sharing various band photos from his collection that have performed in the area. 

The band members in this collection all shared musical moments in Popular, Rhythm & Blues and Jazz during their tenures in music. ***Al – I want to extend my gratitude and appreciation for making this collection available to our website visitors.*  Thanks, Danny