Remembering Leroy Vinnegar (12:04). Walkin' the Bass. 7-13-28, Indianapolis, IN to 8-3-99, Portland, OR. Self-taught musician, pro at 20. Bassist, Chicago's Beehive, '52-'53. To L. A., '54. Starting, '59, Vinnegar worked w/ Teddy Edwards (video). To Portland, late '80s. We all have stories. Please, share one here, mine... HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org -Shawn K

I remember the day Leroy Vinnegar died. I was watching one of Portland's local news channels and even though I knew he was not well, it still struck me with great sadness. I have many Leroy Vinnegar stories and I imagine you do too. Here are some of my memories and some from the public record on the life of Leroy Vinnegar.

In 1997, I was standing off stage right at Cathedral Park when I took this. In Mr. Vinnegar's glasses you can see the reflection of the audience. His watch has his own image on it. We all wanted one of those.

Hampton Hawes (P), Leroy Vinnegar (B), Bobby Thompson (D), Sonny Criss (S), Harry "Sweets" Edison (T) and Teddy Edwards (TS). Leroy Vinnegar solo begins around 8 minutes in this video.



Hampton Hawes (P), Leroy Vinnegar (B), Bobby Thompson (D), Sonny Criss (AS), Harry "Sweets" Edison (T) & Big Joe Turner.

ADJUSTING THE ENDPIN ON HIS BASS
I was emceeing a show with Mr. Vinnegar. The room was electric, musicians were on stage, instruments were out of their cases and all were checking their sound, positioning, and information (especially in my case). Leroy was on stage and he was a significant presence, with his great stature and that of the great bass instrument he moved so gracefully with. Mr. Vinnegar called to me and asked me to adjust the endpin on his bass. I was 36 years old or so, and was in awe of this legend. This isn't by any measure, the first conversation I'd had with Leroy, but they never became common. I knew I was talking with a pillar of the music I loved and I knew too, how much I could learn, so I jumped at ANY opportunity. He lifted the bass off the ground and I got down low and began groping around to find the mechanism that adjusted the endpin. Was it a screw or slide?- I had never done that before, which began to become apparent. The bass was getting heavy and Mr. Vinnegar was very patient. Some excruciating moments went by as I felt around, without success. Saving me, another musician in the band saw this, came over, bent down, loosed the nut allowing the endpin to drop to the ground, then tightened it in a matter of seconds. It was done. I apologized, we all smiled, me with embarrassment and those around me, at my embarrassment.

TEDDY EDWARDS IS IMPORTANT
I emceed a series of programs in the 90's called "Jazz Night Live." They were weekly affairs at the Red Lion Hotel, 310 SW Lincoln here in Portland. They were produced by a gentleman we affectionately called (as he requested), "The Captain." His name was actually Craig Stringer. The room was an event of enthusiastic audience and great musicians. As I introduced the band, I said a little about each member. I had about 5 sentences prepared for Mr. Vinnegar who was that evening's bassist. After my first sentence about his history, he called out, "and Teddy Edwards." With each sentence pause, another call from Mr. Vinnegar, or then from a band member, would come, helping to get me the message, that Teddy Edwards was very important. He had recruited the band with his calls and they followed their leader that night and had his back with vigor and humor. It was as if Teddy Edwards was in the room with us.

(BELOW: CALENDAR (Courtesy Jazz Society of Oregon)

Born
Jul 13, 1928 in Indianapolis, IN
Died
Aug 3, 1999 in Portland, OR

by Richard S. Ginell
The owner of a swinging "walking bass" manner, comfortable in several idioms but not a prolific soloist, Leroy Vinnegar had a couple of heydays -- in the '50s and '60s as a busy freelance recording sideman, and as a member of Les McCann's most popular combo in 1969. As such, he played a major role in two of jazz's biggest hit albums, the trend-setting My Fair Lady set with Andre Previn and Shelly Manne (1956) and the Eddie Harris/Les McCann soul-jazz manifesto Swiss Movement (1969).

A completely self-taught musician, Vinnegar "fooled around" with the piano but gravitated toward the bass upon his first encounter. After turning pro at 20, he was the house bassist at Chicago's Beehive in 1952-1953. Upon moving to Los Angeles in 1954, Vinnegar quickly settled in as the bass player of
choice on records by Stan Getz, Shorty Rogers, Chet Baker, Shelly Manne, and Serge Chaloff, among others. He also started recording as a leader in 1957, reeling off a pair of albums for Contemporary with the word "walks" appropriately inserted in each title. Starting in 1959, Vinnegar would work and tour frequently with Joe Castro and Teddy Edwards while continuing his freelance activities. In the early '80s, he appeared on television as a member of the Dixieland-styled Panama Hats behind actor/banjoist George Segal. Although a bout of ill health caused him to move to Portland in the late '80s, Vinnegar remained an active player into the '90s, and he returned to the recording scene as a leader in 1992 (on Contemporary again) with a CD entitled -- what else? -- Walkin' the Basses. Vinnegar died of cardiac arrest in August 1999, a loss to the jazz world and a particular blow to the Portland jazz community.

CALENDAR (Courtesy Jazz Society of Oregon)

Saturday, August 27
Alberta Rose Theater: "Swingtime Vaudeville Show" - Shanghai Woolies, $30 VIP, $15 adv/$18 door, 8 pm
Esther Short Park, Vancouver WA: "Vancouver Wine and Jazz Festival" - 11 am- noon - Go By Train; 12:30-2 pm - David Friesen Quintet (John Gross, Rob Davis, Greg Goebel, Charlie Doggett; 2:30-4 pm - Coco Montoya; 4:30-6 pm - Stanley Jordan; 6:30-8 pm - Diane Schuur Quintet; 8:30-10 pm - Al Jarreau; Three Day Passes $50; Adv $21/$25
Gracie's Sea Hag, Depoe Bay: Tom Grant, 7-10pm
Heathman Hotel: Linda Lee Michelet Trio, no cover, 8 pm
Jazz Alley, Seattle: Lee Ritenour & Dave Grusin
Jimmy Mak's: Intervision w/Paul Mazzio, Dan Balmer and Go By Train, $12, 8 pm; minors until 9:30 pm
Living Room Theaters: Heather Keizur/ Steve Christofferson/Tim Gilson, 8 pm-midnight
Nel Centro: Mike Pardew & Friends, all ages, no cover, 9:30-11:45 pm
Shirley's†Tippy Canoe, Troutdale: Ollie McClay/Craig Bidondo, 6:30-10:30 pm
Touche: Estrojazz (Kelley Shannon/Laura Cunard/Belinda Underwood), 8:30 pm

DRUMMER SUMMER. Pt 7: LUCKY. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Roy Haynes has lived long, to play Bop, Hard Bop, and Avant-Garde with Parker, Monk, Coltrane, Metheny, Corea in the U.S., Europe, and yes... Letterman (video). Lucky for us. HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

DRUMMER SUMMER. Pt 7: LUCKY. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Roy Haynes has lived long, to play Bop, Hard Bop, and Avant-Garde with Parker, Monk, Coltrane, Metheny, Corea in the U.S., Europe, and yes... Letterman (video). Lucky for us. HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

Roy Haynes (Drum Solo) Fountain Of Youth Band - David Letterman 6-8-11 - HD 720p Music is: "Summer Nights" Band Members: Jaleel Shaw - Soprano Saxophone, Martin Bejerano - Piano, David Wong - Bass

(source: allmusic.com)

Biography

by Scott Yanow

A veteran drummer long overshadowed by others, but finally in the 1990s gaining recognition for his talents and versatility, Roy Hayneshas been a major player for half a century. He worked early on with the Sabby Lewis big band, Frankie Newton, Luis Russell (1945-1947), and Lester Young (1947-1949). After some engagements with Kai Winding, Haynes was a member of the Charlie Parker Quintet (1949-1952); he also recorded during this era with Bud Powell, Wardell Gray, and Stan Getz. Haynes toured the world with Sarah Vaughan(1953-1958); played with Thelonious Monk in 1958; led his own group; and gigged with George Shearing, Lennie Tristano, Eric Dolphy, and Getz (1961). He was Elvin Jones' occasional substitute with John Coltrane's classic quartet during 1961-1965, toured withGetz (1965-1967), and was with Gary Burton (1967-1968). In addition to touring with Chick Corea (1981 and 1984) and Pat Metheny (1989-1990), Haynes has led his own Hip Ensemble on and off during the past several decades. When one considers that he has also gigged with Miles Davis, Art Pepper, Horace Tapscott, and 

DRUMMER SUMMER Pt 6. CREATIVE. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Antonio Sanchez modernizes the instrument, the technique and the conversation, as in this solo with the Pat Metheny Group (video). HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

DRUMMER SUMMER Pt 6. CREATIVE. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Antonio Sanchez modernizes the instrument, the technique and the conversation, as in this solo with the Pat Metheny Group (video). HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

Pat Metheny group live in the Jazz à Vienne Festival.Date 03.07.2002.
Lineup - Lyle Mays,Pat Metheny,Steve Rodby,Antonio Sanchez,Cuong Vu (above).

(source: allmusic.com) ANTONIO SANCHEZ


Born in Mexico City on November 1, 1971, Antonio Sanchéz started playing drums at the age of five and began performing professionally early in his teens. He pursued a degree in classical piano at the National Conservatory in Mexico and in 1993 he moved to Boston to enroll at Berklee College of Music and graduated magna cum laude in jazz studies. Since his move to New York City in 1999, Sanchéz has become one of the most sought-after drummers on the international jazz scene. He has performed and recorded with some of the biggest names in jazz, most prominently in the Pat Metheny trio alongsideChristian McBride; the guitarist's larger group; and the reunion band with Metheny, Steve Swallow, and Gary Burton. Other leaders he has worked with include Chick Corea, Michael Brecker, Charlie Haden,Toots Thielemans, and Joshua Redman. His interest in education ledSanchéz to join the faculty at New York University in 2006. In addition to performing and teaching, he has conducted clinics and master classes, and played at drum festivals worldwide, including the Modern Drummer Festival Weekend, Zildjian Day, and Montreal Drum Festival. Sanchéz has been a featured cover artist on magazines like Modern Drummer, Musico Pro, Percussioni, and Drums & Percussion. In 2007 his first recording as a leader, Migration, was issued.

DRUMMER SUMMER. Pt 5: DETERMINED. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Art Blakey's, ever present bands are famous for the musicians that went on to lead jazz as innovators, composers, arrangers, musicians and entrepreneurs. Examples are in this burnin' rendition of, 'A Night in Tunisia' (video). HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

DRUMMER SUMMER. Pt 5: DETERMINED. Follow the drummers. 'Hard Bop' flourishes with smart, athletic, humorous, inspired, determined, creative and lucky drummers. Art Blakey's, ever present bands are famous for the musicians that went on to lead jazz as innovators, composers, arrangers, musicians and entrepreneurs.  Examples are in this burnin' rendition of, 'A Night in Tunisia' (video). HARD CHOICES Saturdays 11am-1pm KMHD 89.1FM kmhd.org http://hardchoicesblog.blogspo​t.com/ -Shawn K

Art Blakey - dr
Bobby Timmons - p
Wayne Shorter - ts
Lee Morgan - trp
Jymie Merritt - db

BIRTHDAYS:
ABBEY LINCOLN (1930), CHARLIE HADEN (1937), RAVI COLTRANE (1965), REGINA CARTER (1966), NORMAN GRANZ (1918) ---

Norman Granz.
Born
Aug 6, 1918 in Los Angeles, CA
Died
Nov 22, 2001 in Geneva, Switzerland


(source: allmusic.com)
by Scott Yanow
At the height of his career, Norman Granz was one of the most powerful non-musicians in jazz. He always fought for the music he believed in (having a love for freewheeling jam sessions), for his artists (whom he accurately considered to be among the greatest in the world) and against racism, forcing many hotels and concert venues to become integrated in the 1940s and '50s. He studied at UCLA, served in the Army, and then in, 1944, began to make an impact on jazz. Granz supervised the award-winning film short Jammin' the Blues (which featured Lester Young) and put on a concert at the Philharmonic Auditorium in Los Angeles that he dubbed Jazz at the Philharmonic. The latter was such a big success that soon Granz was able to take the all-star jam sessions on domestic and eventually worldwide tours. The producer loved to team together top artists from the bop and swing worlds in "battles" and, although these rousing concerts were often criticized by conservative and somewhat humorless jazz critics, the jams resulted in a great deal of rewarding music. Not content with merely presenting concerts, Granz often recorded the performances even though, at 10-15 minutes, they were too long for a conventional three-minute 78. Granz founded Clef (1946) and Norgran (1953), eventually consolidating his music when he founded Verve in 1956. The rise of the LP in the early '50s was perfect timing, and Granz was able to release many JATP performances on records.