redbeansandrice[…] Trivia in Sachen Cal Massey, wenn nicht hier dann wo, sein Cousin Bill Massey war auch Trompeter-Arrangeur, auf sein Konto geht zB die seltsame Sonny Stitt Mambo Session (7-10 hier); Damerons Komposition Romas auf Mating Call dürfte ein Tribute an Massey und seinen Kompagnon Romulus Franceschini sein – jedenfalls nannten sich die beiden wohl Romas… wüsst gerne mehr über all das… vor allem über Massey, der ja für Coltrane sehr wichtig gewesen zu sein scheint… hier kann man einen Essay über Massey lesen, grad dabei… wenn ich das richtig verstehe, dann war Tyner/Garrison zuerst Massey Rhythmusgruppe… Liste mit Aufnahmen von Massey Kompositionen, allerdings nicht komplett, Charlie Parkers Aufnahme von Fiesta (1951) fehlt…
Franceschini, von dem findet sich auf „Africa/Brass“ ein Stück, glaub ich… ah nein:
Next on the agenda was The Damned Don’t Cry, the only arrangement of the session not contributed by Dolphy and Tyner. Trumpeter Calvin Massey, a long-time friend of Coltrane’s from Philadelphia, wrote and arranged the composition, one of several of his works which Coltrane recorded during his career. According to Coltrane biographer C. O. Simpkins, Massey convinced Coltrane to use the full chart for this session, having recorded a demonstration version (which Coltrane liked). Three days before the record date, Massey and an assistant, pianist Romulus Franceschini, began the difficult job of copying the music for a large band. On the day of the recording session, however, they were still trying to organize the music. Massey, who was coping with a variety of personal problems, passed out at the session, and the performance heard here was conducted by Franceschini.
[…]
[T]here is much of value in this performance. The slow, blues-like 32-bar song-form composition features bitingly dissonant voicings, unusual instrumental combinations and doubling of the bass line by the tuba, echoing some of the late-fifties arrangements of Gil Evans. Trumpeter Booker Little gives the minor-sounding theme a plaintive reading, and is joined the second time around by Coltrane’s soprano. However, the orchestra is tentative as they negotiate the tricky accents in the 12/8 opening section, and the piece does not catch fire until Coltrane’s opening tenor solo.
~ David Wild, liner notes to „The John Coltrane Quartet – The Complete Africa/Brass Sessions“, 1995 2CD Reissue
Dass Tyner/Garrison 1957 mit Massey spielten sollte aus meinem Post oben hervorgehen 
Aus Alun Morgans Liner Notes zu „Blues to Coltrane“:
He spent a yeaer in New York City around 1946, not playing but getting to know musicians one of whom, trumpeter Freddie Wesbter, went out of his way to help and encourage him. Back in Philadelphia he got to know John Coltrane and, later, the Heath brothers, Percy, Jimmy and Al. All this helped to give him the experience he needed. Work with the units of Eddie Vinson and B.B. King probably helped too but by the end of the Forties Cal was carrying out a name for himself as a composer as well as a trumpeter. He wrote Nakatini Suite in 1948 in appreciation of a girl of that name who wrote the entertainment column for the „Pittsburgh Courier“. (John Coltrane recorded the tune ten years after it was written; the record company change the title to Nakatini Serenade.) In March, 1951 Charlie Parker recorded Cal’s tune Fiesta with his regular rhythm section plus a couple of percussionists from the Machito orchestra.
But precise news of Massey in the Fifties is generally hard to come by. he had a band of his own in Philadelphia for a time and he worked with Philly Joe Jones but it is not know exactly where or when. By 1958 he had settled in New York City seemingly engaged more in writing than playing. He produced Bakai (the word means ‚cry‘ in Arabic) for a 1957 Coltrane record session; he also wrote for men such as Freddie Hubbard, Jackie McLean, Lee Morgan and McCoy Tyner. In the autumn of 1959 he was on the road with a big band fronted by George Shearing (Julius Watkins was in the band too) and was present on the unit’s sole album, for the Capitol label. The following April trumpeter Lee Morgan used two of Cal’s tunes on the Blue Note session which produced his „Leeway“ album and in January, 1961, two days afte rhis 33rd birthday, Nat Hentoff gave him his first, and it turn [sic] out his only, chance to record under his own name. Sadly the session seems to have been lost for several years and only an edited Father and Son ever appeared, on the Candid album titled „Jazz Life“ (Candid CS 9019). Cal came to Europe with Archie Shepp’s band in 1969 and was interviewed by Francois Postif for „Le Jazz Hot“ magazine. When the article appeared it was headed by a rare photo of Massey (curiously enough playing Flugel horn, apparently) and with his sole title on record listed as his complete discography!
~ Alun Morgan, liner notes on „Blues to Coltrane“, Candid CD 9029, keine Angabe von Jahr in Booklet oder auf CD – die seltsame Interpunktion steht so bei Morgan…
Sonst kann ich leider auch nicht viel beitragen… hat denn jemand den RVG Remaster von „Mating Call“? Wenn’s da *gute* neue Liner Notes drin hat, sollte dort was über Massey/Franceschini/Romas stehen, würde man erwarten…
Und natürlich wenn jemand diese Ausgabe von „Jazz Hot“ hätte… :sonne:
--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba