SEALED LP: WOODY SHAW: THE WOODY SHAW CONCERT ENSEMBLE

$

25

Woody Shaw: The Woody Shaw Concert Ensemble

FACTORY SEALED LP

• Hello To The Wind
• Obsequious
• Jean Marie
• In The Land Of The Blacks (Bilan As Sudan)

• Woody Shaw: Trumpet, Percussion
• Rene McLean: Alto Saxophone, Flute, Percussion
• Frank Foster: Tenor And Soprano Saxophone, Percussion
• Slide Hampton: Trombone, Percussion
• Ronnie Mathews: Piano
• Stafford James: Bass
• Louis Hayes: Drums

• Woody Shaw (December 24, 1944 – May 10, 1989) (United States) was an American jazz trumpeter, composer and band leader, often referred to as the "last innovator" in the jazz trumpet lineage. Shaw is credited for revolutionizing the technical and harmonic vocabulary of the instrument and is considered one of the great jazz composers and band leaders of the twentieth century. Born with a photographic memory and perfect pitch, Woody Shaw is looked upon as one of the major conceptualists and important musical geniuses in the history of jazz, thought to have been generations ahead of his time. He died at age 44.
• Early life and background - Woody Shaw was born on December 24, 1944 in Laurinburg, North Carolina. He was brought to Newark, NJ by his parents, Rosalie Pegues and Woody Shaw, Sr., at the age of 1 year old. Shaw's father, Woody Shaw, Sr. was a member of the African American gospel group known as the Diamond Jubilee Singers and both of his parents attended the same secondary private school as Dizzy Gillespie, Laurinburg Institute (est. 1904). Shaw's mother is originally from the same town as Gillespie, Cheraw, South Carolina.
• Shaw began playing bugle at age 9 and performed in the Junior Elks, Junior Mason, and Washington Carver Drum and Bugle Corps in Newark, New Jersey. Though not his first choice for an instrument, he began studying classical trumpet with Jerome Ziering at Cleveland Junior High School at the age of 11.
• Shaw states: "The trumpet was not my first choice for an instrument. In fact, I ended up playing it by default. When we were asked what we wanted to play in the Eighteenth Avenue School Band, I chose the violin, but I was too late since all the violins were taken. My second choice was the saxophone or the trombone but they were also all spoken for. The only instrument that was left was the trumpet, and I felt why did I have to get stuck with this "tinny" sounding thing. When I complained to my music teacher that I didn't think it was fair that all the other kids got to play the instruments they wanted, he told me to just be patient. He said he had a good feeling about me and the trumpet, and he assured me I'd grow to love it. Of course my teacher was right, and it didn't take long for me to fall in love with the trumpet. In retrospect, I believe there was some mystical force that brought us together."
• He was encouraged by Mr. Ziering to continue his study of classical trumpet and pursue an education at the Juilliard School of music with famed trumpet instructor William Vacchiano but young Shaw had a deep interest in jazz. His first influences were Louis Armstrong and Harry James. After skipping two grades (Shaw had a photographic memory), he began attending Newark Arts High School (alma mater of Wayne Shorter, Sarah Vaughan, Larry Young, Grachan Moncur, Melba Moore, Savion Glover and many others).
• As a teenager, Shaw worked professionally at weddings, dances, and night clubs. He eventually left school but continued his study of the trumpet under the influence of Dizzy Gillespie, Fats Navarro, Clifford Brown, Booker Little, Lee Morgan, and Freddie Hubbard. He later discovered that he had picked up the trumpet during the same month and year that Clifford Brown died, June 1956.
• In 1963, after many local professional jobs, Woody worked for Willie Bobo (with Chick Corea and Joe Farrell) and also performed and recorded as a sideman with Eric Dolphy. The following year, Dolphy invited Shaw to join him in Paris, however, Dolphy suddenly died shortly before Shaw's departure. He decided to make the trip nonetheless, and found steady work in Paris with close friend Nathan Davis, performing at the famed club Le Chat Qui Peche with musicians such as Bud Powell, Kenny Clarke, Johnny Griffin, and Art Taylor, as well as notable French musicians, like Jean-Louis Chautemps and Jef Gilson. Woody performed frequently in Berlin, and London with a group that included Nathan Davis, Larry Young, and Billy Brooks, the latter two of whom grew up with Shaw in Newark.
• By the mid-1960s, Shaw had successfully absorbed the conception and influence of his mentor and friend saxophonist Eric Dolphy (Iron Man, 1963), and was meanwhile exploring the harmonic innovations of John Coltrane. Both saxophonists contributed greatly to the development of his style as a trumpeter and composer.
• Shaw returned to the U.S. from Paris in 1964 and began his career as one of Blue Note Records's formidable "house" trumpet players, working steadily with a roster of respected artists. He replaced Carmel Jones in the Horace Silver quintet (1965-1966), and made his very first Blue Note debut on Larry Young's famed Unity album (1965), upon which three of his compositions ("Zoltan", "Moontrane", and "Beyond All Limits") would appear ("Moontrane" was dedicated to John Coltrane, was written when Shaw as just 18 years old and was the first composition he ever wrote).
• He also collaborated frequently and recorded with Chick Corea (1966-1967), Jackie McLean (1967), Booker Ervin (1968), McCoy Tyner (1968), Andrew Hill (1969), Herbie Hancock, and Bobby Hutcherson. In 1968-69, he worked intermittently with Max Roach touring with him to Iran. He also worked as a studio musician, and worked in pit orchestras and on Broadway musicals.
• After working frequently with Bobby Hutcherson, Art Blakey, McCoy Tyner and others, Woody Shaw emerged as a band leader during the early 1970s, which was a time when many jazz artists began to explore jazz-rock and fewer bands performed in the tradition of hard bop as a result of the popularity of and demand for more "commercial" music. A younger statesmen among his admired elders, Shaw saw himself as an heir to the musical legacy of great trumpeters such as Dizzy Gillespie, Fats Navarro, and Clifford Brown, and, being an alumnus of Art Blakey's Jazz Messengers, felt responsible for upholding the integrity and appreciation of the tradition of "straight-ahead" jazz.
• He released several albums on the Muse label, and in 1978 was signed to Columbia Records following an endorsement from Miles Davis. He then recorded the albums Rosewood, Stepping Stones, Woody III, For Sure, and United. Rosewood was nominated for 2 Grammys and was voted Best Jazz Album of 1978 in the Down Beat Reader's Poll, which also voted Woody Shaw Best Jazz Trumpeter of the Year and #4 Jazz Musician of the Year.
• Throughout the 1980s, Shaw continued performing and recording as a leader with sidemen such as pianists Onaje Allan Gumbs, Mulgrew Miller, and Larry Willis, bassist David Williams, drummer Terri Lyne Carrington, and trombonist Steve Turre among others, recording a number of more "traditional" but highly-lyrical albums (Solid, Setting Standards, In My Own Sweet Way) consisting predominantly of standards and tunes from the hard bop repertoire. During this time he also worked on projects with saxophonists Kenny Garrett and Dexter Gordon, as well as fellow trumpeter Freddie Hubbard on three historic albums (Time Speaks, Double Take, and The Eternal Triangle), later reissued on Blue Note as the Freddie Hubbard and Woody Shaw Sessions.
• On February 27, 1989, Shaw was struck by a Brooklyn subway car, which severed his left arm. Shaw suffered complications in the hospital and died of kidney failure on May 10, 1989.

• This record came from a record store called "Phantasmagoria" which was located in Allentown, Pennsylvania. Phantasmagoria went out of business in 1978. I purchased most of their unsold inventory some years later when I owned "Music Madness" - a new & used record store in Catasauqua, Pennsylvania.
• Phantasmagoria used round colored stickers to indicate the price of the albums. They had a chart on the wall with the color sticker combinations for the customers to use so they knew the price of the albums. Most of the albums still have these stickers on them, and in some rare cases, the stickers are written on. Some of the records have prices on them. This is the price you would have paid for the record in 1978 if you would have bought it at Phantasmagoria. Please don't confuse these prices with their current value.
• All sealed albums are being sold as collector's items and cannot be returned due to manufacturer's defects. It may be almost impossible to replace many of the sealed albums that I am selling.

• If I list an album as "New", but not sealed, it is because the album is probably an import or from a small USA record company. Back in the 70's, many imported albums were not sealed by the record companies, and the importers/distrubutors did not spend the time or money to seal them before being sent to the stores. I will not knowingly misrepresent an album as new if I have any doubts.
  
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