Lambert, Hendricks & Ross (und Lambert, Hendricks & Bavan)

tolomoquinkolomNach Möglichkeit unbedingt in naher Zukunft um das Doppelalbum THE HOTTEST NEW GROUP IN JAZZ (*****) ergänzen.

Ja, danach muss ich mich mal umsehen!
Wie sind die anderen beiden Alben mit Bavan, kennst Du sie?

tolomoquinkolomAlle drei Alben von Lambert, Hendricks & Bavan sind Live-Alben und da dir AT NEWPORT ’63 offenbar gefällt, wird das bei AT BASIN STREET EAST (mit Pony Poindexter) und HAVIN’ A BALL AT THE VILLAGE GATE ebenfalls so sein. Drei makellose Einspielungen und an Yolande Bavan ist überhaupt nichts auszusetzen, wenngleich sie natürlich das Fehlen von Annie Ross nicht ganz vergessen macht.

Leider ist auch das Werk von Lambert, Hendricks & Ross eher ein überschaubares. Neben deinen gerankten THE SWINGERS! und SING A SONG OF BASIE gibt es – außer einem schön zusammengestellten Best-of von Rhino – eben nur noch das HOTTEST-Triple mit den Alben EVERYBODY’S BOPPIN’, SING ELLINGTON und HIGH FLYING.

Ein Tipp (falls noch unbekannt): Auf dem Album THE REAL AMBASSADORS (von Louis Armstrong And His Band) sind neben Pops auch Brubeck, Carmen McRae und Lambert, Hendricks & Ross (mit 6 Songs) vertreten.

Danke für die kurze Zusammenfassung – werd mich definitiv nach mehr umschauen!

tolomoquinkolomWie bist du eigentlich auf LH&R gestoßen?

Sing a Song of Basie kenn ich schon mehr als mein halbes Leben… „Fiesta in Blue“, wenn Ross die Lead-Trompetenstimme ganz weit oben singt… unglaublich!
Wie ich drauf gestossen bin weiss ich gar nicht mehr – im Rahmen meiner seit ca. 18 Jahren andauernden Jazz-Expedition irgendwie… bei mir ist 98% Jazz, um Maceo umzukehren.

D. A. Pennebaker hat 1964 eine audition der Dave Lambert Singers für RCA gefilmt:
http://vimeo.com/2681835

Dave Lambert, of Lambert, Hendricks, and Ross, with his newly formed quintet auditioning for RCA in 1964, shortly before his untimely death.

Dave Lambert had been a hero of mine ever since I left Chicago for New York in the forties, long before he’d begun the famous Lambert, Hendricks and Ross trio. He was an arranger for Gene Krupa, who, in addition to trumpeter Roy Eldridge and vocalist Anita O’Day, had these fantastic brass arrangements, which I still remember and have the 78’s to prove it. Anyway, while we were building a studio on 45th Street for fledgling-film-company Leacock Pennebaker, Bob Van Dyke, our audio genius, introduced me to Dave, and got him to help us finish it. Dave, it turned out, was a first rate carpenter. When it came up that he had an audition at RCA for a new group to record songs he had just written, we went along with him and filmed the session. RCA decided not to go for it, and wiped the tapes, so we stuck our unedited film up on a shelf and left it there.
Several months later, while helping someone fix a flat on the Merritt Parkway, Dave was hit by a car and killed. A few weeks later, Art De Lugoff from the Village Gate called and said he’d heard we had a film of Dave and could he show it at the wake. Nick Proferes and I spent that night editing and got him a print the next day. A few days later a reporter from German TV who’d seen it, came around and asked if he could take the film back with him, since Lambert was so well known in Europe. We gave him our print and forgot about it. Then letters started coming asking where to get the record. But there wasn’t any record, nor ever would be. All there was was this fifteen-minute film of a few incomplete rehearsals of songs that otherwise didn’t exist. It hit me that this was really what film should be doing, what I should be doing . . . recording people and music as a kind of popular history that might otherwise not exist. It was only a few weeks later that Albert Grossman walked into our office and asked if I was interested in making a film about his client, Bob Dylan.

D A Pennebaker

By D A Pennebaker
1964, 15 min., b&w

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