Search Content

Entries in Organ Trios (6)


Special Request - Joe Fortunato Tribute

JOE FORTUNATO - "Memorable Tribute" from Danny Luciano 

We have received many requests from our many friends to post this rememberance tribute to a true "Gentleman of JAZZ."

JOE FORTUNATO - "Memorable Tribute" from Danny Luciano on Vimeo.






Recently we have been having many requests from many friends and fans of Joe Fortunato for a recording of a popular song from

The American Songbook entitled “Out of Nowhere”

 >>   May 5, 1930 - October 28, 2011  <<

As a Memorial Tribute . . . I have located this recording plus various instrumental tracks recorded from a local Philadelphia studio . . . that was never released publicly, but was always requested at every club date and live performance from Joe Fortunato.  

The sharing of this duo recording by Joe Fortunato & Lou Gagliardi by exemplifies his soulful approach to the tenor saxophone with the tasteful guitar accompaniment of longtime friend Lou Gagliardi.





Joe Fortunato was a Jazz legend in the Philadelphia music scene for over 70 years. His contribution to Jazz has always lived-up to the old standard song title cliché

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

I have received many requests for a recording of a popular song from

The American Songbook entitled “Gone with the Wind."

 >>   May 5, 1930  -  October 28, 2011  <<

As a Memorial Tribute . . . the sharing of this recording by Joe Fortunato exemplifies his soulful approach to the tenor saxophone. Recorded in the early 1970s at a Philadelphia studio was never released publicly but was always requested at every club date and live performance from Joe Fortunato.  


"Gone With The Wind"

Joe Fortunato & Friends 

 Richie Baratta, pianoPlayed with many visiting musicians who worked as sidemen with the big bands of Woody Herman, Benny Goodman, and Gene Krupa during the early sixties while they were performing in the Philadelphia area . His friendship with Stan Getz, Gerry Mulligan opened many doors to record with other prominent artists.

Henry Ceccola, bass As boyhood friends, he and tenor saxophonist Charlie Ventura started playing music at a young age in Philadelphia. Throughout these years he also became friends with Red Rodney, Gene Krupa and singer/pianist Buddy Greco.During the sixties he recorded as a sideman on various independent record labels.

Mike Anthony, drumsPerformed with many R&B combos that worked the lounges of Las Vegas during the 1950s. After returning the Philadelphia area, he formed his own combo called “The Sultans.”    This group was featured at many leading night-spots in the Philadelphia surrounding areas.  


***SPECIAL ADDITION! - Bonus Spotlight Performance #2

"The Queen Of The Blues" 



It was during the period from 1949 to 1958, Dinah Washington’s recordings were  consistently among the top 10 hits of the rhythm-and-blues charts.

On various occasions, my friend-booking agent Lew Entin often spoke about some of the national bookings he provided in major venues throughout the East and West Coasts. Lew was also friends with composers Ned Wever, Milton Ager, and Jean Schwartz who wrote “Trust in Me” which became a Billboard chart hit for Dinah Washington’s rendition.


 *Spontaneous. . . *Improvisational. . . *Reflective. . . 

 - there are many shadings to the musical concept of Jazz -

**The spontaneities and "improv" at the heart of Jazz are endless.
The intention of this book "JAZZ Yesterday, Today, Tomorrow" is to give all Jazz aficionados (novice, professional or non-musician) a candid view and special flavor for the popular Jazz musicians that have been musical legends and\or household names for past decades  . . . whether or not they played a great part in Jazz history or have been neglected and omitted from the record books. 





Tenor Sax & Organ Trios:
  In the 1990s, where improvised music seems to be the norm, the classic sound of the tenor sax and organ jazz combos seem to be a thing of the past. For the moment let us take a trip back to the 1950s, '60s, and '70s to revisit the popular jazz artists of those times.
Beginning in the 1950s, Duke Ellington, Benny Carter and Stan Kenton represented the refinement and gentlemen's approach to jazz. Count Basie, Lionel Hampton and Woody Herman were swingin' their bands cross-country in ballrooms, concert halls, and supper clubs to sold-out audiences. A number of musicians who were sidemen in many of these well known big bands branched off, became leaders of their own small combos, and explored definite musical styles of their own. Many of these combos consisted of only 3, 4, 5, or six men and utilized a piano rhythm section with a tenor sax or trumpet lead.
Until these smaller groups became popular, the Hammond B-3 organ played a very small part as a basic ingredient to swingin' jazz. A virtual unknown, Les Strand, pioneered playing Be-Bop on the instrument, as far back as the early 1940s, and recorded several albums for the Fantasy label in the 1950s.
The organ trio, quartet or quintets consisting of organ, tenor sax, drums, guitar and trumpet would make economic sense for small club owners. The versatility of the B-3 organ foot pedals meant that a bass player would not need to be hired. This eliminated the extra cost of another musician.
The mid-1950s through the early 1970s saw the emergence of smaller jazz nightclubs that were able too showcase many musicians in one night. Many primarily hired the groups that used the B-3 organ.
These places could accommodate approximately 75-200 people who sat around an oval bar or in nearby booths and tables enjoying the music that was performed. The music played, was not the traditional jazz of earlier years. Some jazz aficionados and critics might even have deemed it rhythm & blues, meaning it was uncreative and the musical talents were limited.
**** Let us not forget . . .
however, some of the musicians and performers that held reign at these smaller clubs and played "down-home" crowd-pleasing music, went on to become prominent jazz artists and poll winners of the future. In some cases, their names and musical accomplishments went together like bacon and eggs.
Unlike the West Coast cool-jazz scene and progressive music that was making its debut during the late fifties, these smaller clubs that featured these types of small combos were known as the "Chitlins Circuit."


 They featured Eddie "Lockjaw" Davis, Stanley Turrentine, ShirleyScott, Kenny Burrell, Jimmy Smith, Horace Silver, Doc Bagby, Gene Ammons and Sonny Stitt, Brother Jack McDuff, Richard "Groove" Holmes, Bill Doggett featuring sax man Clifford Scott plus vocalists Dinah Washington, Gloria Lynne, Arthur Prysock and Joe Williams.

As the organ combos gained popularity during the late fifties many record labels took notice of how much their audiences were enjoying this type of sound. Prestige Records, Atlantic, Okeh, Chess, and King Records, among others, recorded and distributed the singles, albums and recorded music catalogs of the above artists and their funky, houserockin' rhythm & blues