The Gone Sounds of Jazz with Sid Gribetz

Saxophonist Teddy Edwards was born in Jackson, Mississippi on April 26, 1924.  His grandfather and other family members were leading local musicians, and Teddy began playing the alto sax as a youth. By age 12 he had played in some professional settings himself.  As a teenager he went to Detroit to live with an uncle and began participating in the vital Motor City scene. In his development, he forged connections with many young jazz artists, among others notably Wardell Gray with whom he became a close friend.
Edwards toured with R&B and jazz bands and ended up in Los Angeles in 1945.  There he teamed up with Howard McGhee and switched to tenor sax.  With his sophisticated harmonic sense and free flowing sound, Edwards became a leading figure in the early bebop days on the West Coast.  He was a key member of the Central Avenue scene, participating in duels with Dexter Gordon and Wardell and making notable records such as “Blues In Teddy’s Flat”.
Prominent on the West Coast, Edwards was one of the original Lighthouse All Stars and an early choice to be in the Clifford Brown-Max Roach Quintet. By the late fifties and sixties, he recorded notable LPs with compatriots such as McGhee, Leroy Vinnegar and Gerald Wilson for the World Pacific, Contemporary, and Prestige labels (“It’s All Right”).
An accomplished arranger, Edwards wrote for brass and string ensembles and contributed to many projects. Additionally, he was an important accompanist for vocalists such as Jimmy Witherspoon, Helen Humes, King Pleasure and numerous others.
Edwards never ventured to the major New York limelight, but he was an important and influential figure in Los Angeles. In later years he  spent time in the Netherlands and elsewhere in Europe, where he enjoyed admiration and popularity.  Edwards gained some publicity in the popular field when he toured regularly with Tom Waits for a time in the 1980s..
Edwards had a powerful and pulsating sound on the sax, always tinged with emotional warmth and insight.
I always liked this encomium to Edwards from Tom Waits: “He can sound like a train, or he can sound like he's drinking champagne on that same train."
Edwards had various health problems in later life, and he died of cancer at the age of 78 in 2003.
originally broadcast April 19, 2026

For the 2026 WKCR Billie Holiday Birthday Broadcast. I prepared a survey of Lady Day's recordings with Prez, Lester Young (about 2 hours).  The epitome of sublime intimacy and heartfelt companionship.  The episode opens and closes with several other Holiday tracks for casual listening, not so shabby in their own right.

John Coltrane is a major figure in our culture.  The majesty, grandeur and passion of his saxophone communicates with the soul and has inspired the reverence and spiritual devotion of his listening audience.
It would be difficult to profile his widespread body of work in a single radio program.  Therefore, this episode focuses on one discrete portion of his career, his recordings on the Prestige record label.
Coltrane attained his first major notice in his late twenties as a member of the classic Miles Davis Quintet (fall 1955-early 1957).  However, Coltrane was struggling with substance abuse and other personal difficulties, and Miles fired him from the group.  With immense personal dedication, and spiritual guidance from his wife Naima, Coltrane beat his addiction and began a renewed, refreshed life.  He moved to New York City (203 West 103rd Street).  Trane began working with Thelonious Monk, and their legendary six month engagement at the Five Spot reinvigorated each of their careers.
At the same time, Coltrane was looking to establish himself as a recording artist.  While with Miles, he was also a freelance sideman on many now classic albums, and in early 1957 Coltrane eventually got a contract with Bob Weinstock’s independent Prestige company, a deal that would last through the end of 1958.
There, Coltrane recorded his first three albums as a leader (“Coltrane”, “John Coltrane With The Red Garland Trio (aka Traneing In)” and “Soultrane”), sessions led by his friend Red Garland, and many all star dates.  As was his custom, Weinstock recorded many sessions under Trane’s leadership, which were "kept in the can", stockpiled, and released on additional albums in the next few years.
This was a pivotal period in the development of Coltrane’s career, leading in to “Giant Steps” and further levels of artistry.  Accordingly, these Prestige records are sometimes overlooked, but they, too, have a robust and sophisticated improvisational fervor worth savoring.  Critic Ira Gitler wrote of “the excruciatingly exhilarating intensity of rapid exigent runs with their residual harmonic impact” in coining the overworked but still apt term “Sheets of Sound” to characterize this phase of Coltrane’s style.
originally broadcast May 19, 2024

WKCR has a long standing tradition of celebrating Roy Eldridge, “Little Jazz”, with a marathon 24-hour broadcast tribute every year on the trumpet giant's birthday anniversary, January 30.
Here’s my shift from the 2026 edition.  We begin at the 1977 Montreux Jazz Festival, followed by 70 minutes of Roy in the 1950s, including his Verve session with Art Tatum and other goodies.  Next comes a detailed survey of Roy’s association with Gene Krupa (approx 85 minutes).  This episode concludes with a potpourri of various recordings for general listening.

We continue an occasional series of programs focusing on the American Popular Song, examining the impact of the legendary composers on the jazz repertory.  For some of the best in jazz improvisation derives from its interpretations of the musical forms, melodies and harmonies of these great treasures.
For this show I did something different, and fun, and less intensive.  I surveyed songs that won the Academy Award Oscar as Best Original Song in a motion picture.  These movie songs certainly contribute to the heritage of our great American songbook.
Among the composers winning this award are Jerome Kern, Harry Warren, Harold Arlen and Jimmy Van Heusen, to name a few.  And tunes such as The Way You Look Tonight, Over The Rainbow, It Might As Well Be Spring, Days Of Wine And Roses.
We’ll present a curated presentation of jazz versions of the songs, by greats John Coltrane, Sonny Rollins, Clifford Brown, Kenny Dorham, and less famous figures as well.
originally broadcast March 15, 2026

Howard McGhee, a renowned trumpeter of both the big band and be-bop eras, also was a leading figure and mentor on the New York jazz scene in the 1960's and 1970's. 
Born in Oklahoma in 1918, and raised in Detroit, McGhee gained attention in his youth in the big bands of Lionel Hampton, Charlie Barnet, and, notably, Andy Kirk.  Settling in Los Angeles in the 1940's and working in Coleman Hawkins small group, McGhee became a major player in California, recording with musicians ranging from Lester Young to R&B bands.
When Bird, Charlie Parker, famously stayed in LA in 1946 after Dizzy and his group returned to New York, McGhee became a key companion and an important figure in the history of bebop jazz.
McGhee also played with Machito’s Afro-Cuban band, with Milt Jackson, Jazz At The Philharmonic, and had many other significant associations.
In the 1950's, among other credits, he recorded for Bethlehem Records and performed regularly in James Moody’s working group.
Over the last decades of his life, McGhee made records with Phineas Newborn, Teddy Edwards and other prominent figures, which we will hear on the program.  “Maggie”, as he was known, also led his own big band, and he was active in community events with the St. Peter’s Church jazz ministry.
McGhee died in 1987 at the age of 69.
originally broadcast February 10, 2019

Serge Chaloff was a fleeting star on the baritone saxophone during his brief lifetime, one of Woody Herman’s “Four Brothers” and a bebopping legend as well.   He was a sophisticated musician and swinging performer.  Serge possessed a lithe, fleet, flowing conception propelled with a lighter tone and nimble execution on the big horn.
Raised by his prominent classical musician and educator parents in Boston, Serge Chaloff was born November 24, 1923.  His father Julius Chaloff was a pianist with the Boston Symphony Orchestra and ran his own music school; his mother Margaret Stedman Chaloff, revered  by her many famous classical and jazz musician students as “Madame Chaloff”, was a long time teacher with her own studio and also at the New England Conservatory and other schools.
As a young child his parents taught him the piano, and he received formal lessons on the clarinet.  Inspired by Harry Carney he was self taught on the baritone saxophone and began performing in big bands.  Chaloff was also influenced by Charlie Parker and informed by the contemporary bebop scene, and he incorporated those styles as a major component of his expression.
Chaloff was hired by Woody Herman for the “Second Herd” band in 1947-1949 and excelled as part of its legendary saxophone section memorialized by the Four Brothers song and sound.
Unfortunately, Chaloff also absorbed another lesson from the bebop era and many contemporaries, succumbing to heroin addiction.  Chaloff was smitten and suffered more intensively than most, harming his physical health and inspiring erratic behavior to an extent that almost cost him his musical career, and his life.
Let go by Herman, Chaloff spent the early 1950's basically in local Boston clubs and with some brief prominent spots such as a stint in Count Basie’s octet.  He also spent some time on the road with low profile gigging.
By 1954, Chaloff began getting some treatment, and friends eventually  prevailed upon him to enter an intensive in patient rehab program.  Chaloff emerged totally clean and renewed his career with vigor.  Highlights included appearances at George Wein’s Storyville nightclub and his record label.  The “Fabel Of Mabel” album is a storied endeavor and a cult classic.  Chaloff went on significant national tours, appeared on the Steve Allen TV show, and recorded with Capitol Records - two LPs “Boston Blow Up” and “Blue Serge”- that are now considered masterpieces.
However later in 1956 Chaloff was stricken with cancerous tumors on his spine and after some initial surgeries that allowed him to endure, the tumors spread and he died in July 1957 at the age of 33.
With his short life span and limited body of recordings, Chaloff is not well remembered, but he was a significant figure who deserves lasting recognition.
 
originally broadcast February 15, 2026

Tina Brooks was a lyrical tenor saxophonist with a yearning, introspective, yet soulful sound. He attained a brief measure of recognition on several Blue Note albums in the late 1950's and early 1960's but never achieved great fame.
Harold Floyd Brooks was born in Fayetteville, North Carolina on June 7, 1932, into a musical family. (His older brother David “Bubba” Brooks, also a saxophonist, was a mainstay in the jazz world for many years). In his youth, Harold was nicknamed Tina from his teeny, diminutive size. The family moved to the Bronx in 1944 when he was 12 years old, and Brooks was a Bronx-iteHe came of age playing in Latin and Rhythm and Blues bands, eventually gaining major professional experience in the touring groups of Amos Milburn and Lionel Hampton. By 1956 and 1957, under the tutorship and close friendship of modern jazz greats Benny Harris and Elmo Hope, Brooks was playing in the thriving Bronx jazz scene, in clubs such as the Blue Morocco, 845, and Freddie’s Bar, with friends such as Oliver Beener and Larry Gales.
Introduced to Blue Note Records executive Alfred Lion, Brooks was immediately thrust in to the big leagues on a Jimmy Smith record session. His extended saxophone solos on Smith’s “The Sermon” gained great repute. He made tremendous contributions as a sideman with Freddie Hubbard (Open Sesame), Kenny Burrell (Blue Lights), and Jackie McLean (Jackie’s Bag).
In 1959 and 1960, Brooks also worked in theater, serving as an understudy in the cast of Jack Gelber’s legendary Off Broadway play “The Connection”, with live jazz music by Freddie Redd. As a result of this relationship, Brooks would record with Redd on some of his albums.
Blue Note eventually made four sessions with Tina Brooks as a leader of quintets, recording dynamic versions of American popular song standards along with lyrical and sophisticated original compositions, in association with band-mates such as Hubbard, McLean, Lee Morgan, and Sonny Clark. However, only one album, “True Blue”, would be released in his lifetime. Championed by critics and record executives such as Michael Cuscuna, his remaining albums would be released posthumously, as an early staple of Cuscuna’s connoisseur Mosaic label, and also on Blue Note.
Tina Brooks suffered from various health problems, as well as being saddled with the scourge of heroin addiction. He was not well enough to perform beyond his thirties, and he succumbed to kidney illness and the ravages of his drug use, dying on August 13, 1974 at the age of 42.
 
originally broadcast July 21, 2024

Trumpeter and vocalist Hot Lips Page was a key figure in early jazz, the swing era, and rhythm ‘n’ blues.
Oran Page was born in Texas on January 27, 1908. As a teenager, he began a career with the “territory bands” and the southwestern swing tradition.  From a young age he possessed a sizzling style and command of the trumpet, which perhaps was the source of his nickname, although his friends noted his enjoyment of the early ‘20's Henry Busse/Paul Whiteman record “Hot Lips”, too.
Page made his mark with the Blue Devils and other seminal Kansas City bands, and he was an important member of the early Count Basie and Reno Club orchestras.
Leaving Count Basie to embark on a solo career, Page made a key contribution as a leader of small combos during the swing era and the 52nd Street nightclub scene.  In that milieu he made numerous significant recordings.  He also appeared as the featured trumpet soloist for a time with the Artie Shaw band in 1941-42.  After World War II, Page was a key figure in the development of the rhythm and blues sound, both with his own records and backing singers like Wynonie Harris (“Good Rockin’ Tonight”).
You’ll enjoy “Lips” for his dynamic approach on the trumpet and an earthy, down home singing style, all of which conveyed a deep humanity and emotional connection with the music.
Page died of pneumonia and heart trouble at the early age of 46 in 1954. 
 
originally broadcast September 27, 2015; rebroadcast May 9, 2021

WKCR presents a marathon broadcast celebrating Max Roach annually, on his birthday anniversary, January 10.
Here’s my segment from the 2020 edition.  It begins with a survey of Sonny Rollins collaborations with Max (81 minutes), then takes a relaxing visit to the Royal Roost to hear the Charlie Parker Quintet in live performance (18 minutes), and finally over an hour of selections of Max Roach as a sideman on recordings from the late 1940's bebop era, by Dexter Gordon, Allan Eager, J.J. Johnson, Stan Getz, Don Byas and Buddy DeFranco.