![]() ![]() Nearing the four-decade mark of their marriage, the Millers remain devoted life partners. “But we always know that we are supposed to be together, and we laugh at each other every day. “We’ve had plenty of troubles and arguments and fights,” Julie says during a recent call. Buddy’s output is more of a quiet chuckle. But even when I speak with both halves of the Americana power couple individually, it’s like someone uncorked a canister of nitrous oxide. Usually, it’s with each other (or, occasionally, at each other). If it ever was on CD, it's out of print now.Buddy and Julie Miller both like to laugh. The June 1953 session with the Herman McCoy Swing Choir is on a rare LP called Gene Norman Presents Mulligan with Baker+Buddy DeFranco Quartet. The Buddy DeFranco Quartet tracks are: Somebody Loves Me, The Things We Did Last Summer, Cairo, Street of Dreams and Easy Living. The live 1953 recording from Chicago's Blue Note are tucked away on The Oscar Peterson Trio 'Live' 1953-56 here. The April 1953 studio sessions are on Mr. Rekord buddy tags mp3 download#The June and July 1952 sessions are on Buddy DeFranco here (caution: the mp3 download isn't the same album) and here. JazzWax tracks: Six of the eight sides from Buddy DeFranco's February and March 1952 sessions with Kenny Drew can be found on Hep's 1949-'52 Studio Performances (tracks 21-26) here or the French Classics series. By the time Clark joined the quartet, Buddy had perfected his approach, and the Clark sessions remain a milestone in modern jazz. But Buddy was a fast study and soon settled into a smart, cohesive groove. Rekord buddy tags crack#His bop forays begin somewhat awkwardly-a swing player taking a methodical crack at bop. What's interesting about Buddy's evolution with Drew is how he matures as a bop player. Drummer Bobby White and bassist Gene Wright joined around this time, too." When I heard Sonny, I knew instantly we were musically compatible in terms of what we were trying to do with modern jazz. He was interesting and intelligent, and played with a happy, skippy feel. When we arrived at the Blackhawk, Kenny brought Sonny Clark in. He said once we got to San Francisco, he’d have the pianist sit in so I could hear him. In 1954, Kenny Drew gave notice and told me he had his replacement lined up. That group became so successful that people would come up to me in later years and say that they remembered when I was in Art’s group. Then in early 1954, Art wanted to form his own group-the Jazz Messengers. JazzWax: Your bebop quartet started in 1952 and featured pianist Kenny Drew, bassist Curly Russell and drummer Art Blakey. When I interviewed Buddy in 2010, I asked him about his bebop journey of the early 1950s. But before Drew departed, he arranged for a new pianist to take over-Sonny Clark. Drew left the group in 1954 to lead his own groups in New York and Los Angeles. Here's Star Eyes.Īlso dig Stella By Starlight, with wonderful piano work by Drew.Īnd that was it. Interestingly, this bop-and-voices session came one month after Parker recorded with the Dave Lambert Singers in New York for Norman Granz. Each song had the word "star" in the its title, and the results were rather nifty. In June '53, Buddy and Drew were in Los Angeles recording for Gene Norman Presents with the Herman McCoy Swing Choir. In late April and May '53, Buddy and his quartet recorded live at the Blue Note in Chicago, with Kenny Drew (p) Eugene Wright (b) and Art Blakey. Among the sides was The Way You Look Tonight.īack in New York in April 1953 to record, Buddy replaced Russell with bassist Milt Hinton. One of the most interesting sides recorded was a Drew original- Cairo:Īfter appearing that month with Charlie Parker in a Jerry Jerome Jazz Concert at the Loew's Valencia Theatre in Jamaica, New York, Buddy recorded in San Francisco in July '52 with Drew, Curly Russell and Art Blakey. ![]() His group included Jimmy Raney (g), Teddy Kotick (b) and Art Taylor (d). Buddy's first bop recordings with Drew came in February and March 1952. This period was one of experimentation for Buddy, who had come up in the swing era (that's his clarinet solo on Tommy Dorsey's Opus No. īuddy and Drew would tour and record through 1954. His quartet's first bop pianist was Kenny Drew. Rekord buddy tags series#But by 1951, Buddy decided MGM was a better bet and recorded first with his big band and then a series of bebop quartets starting in '52. Buddy signed with Capitol in 1949 while Shearing signed with MGM and brought in vibist Margie Hyams to replace Buddy's sound. Clarinetist Buddy DeFranco and pianist George Shearing toyed with a quintet format in the late 1940s, but before they could record together, the two went their separate ways. ![]()
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