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W. Eugene Smith untitled, New York, [Peter Ind, bassist],1960s

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Jazziversaries July 20th

Carlos Santana (guitar) 1947 :: Birthday wishes to Carlos Santana. Carlos is a guitarist who became famous in the late 1960s and early 1970s with his band, Santana, which pioneered a fusion of rock and Latin American music. The band’s sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. 

In 2003 Rolling Stone magazine listed Santana at number 20 on their list of the 100 Greatest Guitarists of All Time. He has won 10 Grammy Awards and three Latin Grammy Awards.

Carlos Santana was born at Autlán de Navarro, Jalisco, Mexico. He learned to play the violin at age five, and the guitar at age eight. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the city on Mexico’s border with California, and then San Francisco.

He got the chance to see his idols (most notably B.B. King) perform live in San Francisco. He also was introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s.

After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966 he gained prominence by a series of accidental events all happening on the same day. Santana was a frequent spectator at Bill Graham’s Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Bill Graham assembled an impromptu band of musicians he knew primarily through his connections with the Grateful Dead, Butterfield’s own band and Jefferson Airplane, but he had not yet picked all of the guitarists at the time. Santana’s manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham assented. During the jam session, Santana’s guitar playing and solo gained the notice of both the audience and Graham. During the same year, Santana formed the Santana Blues Band, with fellow street musicians, David Brown and Gregg Rolie (bassist and keyboard player, respectively).

With their highly original blend of Latin-infused rock, jazz, blues, salsa, and African rhythms, the band (which quickly adopted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to him signing a recording contract with Columbia Records, then run by Clive Davis.

Their first album, Santana, was released in August and became a huge hit, reaching number four on the U.S. album charts, with the catchy single “Evil Ways” reaching number nine on the Billboard Hot 100.

Following turbulence within the group initially sparked when Chepito Areas was stricken with a near-fatal brain hemorrhage, and Santana hoped to continue by finding a temporary replacement (first Willie Bobo, then Coke Escovedo), while others in the band, especially Michael Carabello, felt it was wrong to perform publicly without Areas. Cliques formed, and the band started to disintegrate. There followed numerous member changes until the band was playing in Peru and a Latin American tour was cut short due to student protests against U.S. governmental policies and unruly fans. The madness of the tour convinced Santana that changes needed to be made in the band and in his life.

In early 1972, Santana and the remaining members of the band started working on their fourth album, Caravanserai.

When Caravanserai did emerge in 1972, it marked a strong change in musical direction towards jazz fusion. The album received critical praise, but CBS executive Clive Davis warned Santana and the band that it would sabotage the band’s position as a “Top 40” act. Nevertheless, over the years, the album would achieve platinum status. The difficulties Santana and the band went through during this period were chronicled in Ben Fong-Torres’ Rolling Stone 1972 cover story “The Resurrection of Carlos Santana”.

In 1972 Santana became a huge fan of the pioneering fusion band The Mahavishnu Orchestra and its guitarist, John McLaughlin. Aware of Santana’s interest in meditation, McLaughlin introduced Santana and Deborah to his guru, Sri Chinmoy. Chinmoy accepted them as disciples in 1973. Santana was given the name Devadip, meaning “The lamp, light and eye of God.” Santana and McLaughlin recorded an album together, Love, Devotion, Surrender with members of Santana and the Mahavishnu Orchestra, along with percussionist Don Alias and organist Larry Young, who both had made appearances on Miles Davis’ classic Bitches Brew in 1969.

The albums conceived through the late 1970s followed the same formula, although with several lineup changes. Among the new personnel who joined was current percussionist Raul Rekow, who joined in early 1977. Most notable of the band’s commercial efforts of this era was a version of the 1960s Zombies hit, “She’s Not There”, on the 1977 album Moonflower.

The relative success of the band’s albums in this era allowed Santana to pursue a solo career funded by CBS. First, Oneness: Silver Dreams - Golden Reality, in 1979 and The Swing of Delight in 1980, which featured some of his musical heroes: Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams from Miles Davis’ legendary 1960s quintet.

The pressures and temptations of being a high-profile rock musician and requirements of the spiritual lifestyle which guru Sri Chinmoy and his followers demanded were in conflict, and imposed considerable stress upon Santana’s lifestyle and marriage. He was becoming increasingly disillusioned with what he thought were the unreasonable rules that Chinmoy imposed on his life, and in particular with his refusal to allow Santana and Deborah to start a family. He felt too that his fame was being used to increase the guru’s visibility. Santana and Deborah eventually ended their relationship with Chinmoy in 1982.

Growing weary of trying to appease record company executives with formulaic hit records, Santana took great pleasure in jamming and making guest appearances with notables such as the jazz fusion group Weather Report, jazz pianist McCoy Tyner, Blues legend John Lee Hooker, Frank Franklin, Living Colour guitarist Vernon Reid, and West African singer Salif Keita. He and Mickey Hart of the Grateful Dead later recorded and performed with Nigerian drummer Babatunde Olatunji, who conceived one of Santana’s famous 1960s drum jams, “Jingo”. In 1988 Santana organized a reunion with past members from the Santana band for a series of concert dates. CBS records released a 20-year retrospective of the band’s accomplishments with Viva Santana!.

That same year Santana formed an all-instrumental group featuring jazz legend Wayne Shorter on tenor and soprano saxophone. The group also included Patrice Rushen on keyboards, Alphonso Johnson on bass, Armando Peraza and Chepito Areas on percussion, and Leon “Ndugu” Chancler on drums. They toured briefly and received much acclaim from the music press, who compared the effort with the era of Caravanserai. Santana released another solo record, Blues for Salvador, which won a Grammy Award for Best Rock Instrumental Performance.

In 1990 Santana left Columbia Records after twenty-two years and signed with Polygram. The following year he made a guest appearance on Ottmar Liebert’s album, Solo Para Ti, on the songs “Reaching out 2 U” and on a cover of his own song, “Samba Pa Ti”. In 1992 Santana hired jam band Phish as his opening act.

Santana’s record sales in the 1990s were very low. Toward the end of the decade, he was without a contract. However, Arista Records’ Clive Davis, who had worked with Santana at Columbia Records, signed him and encouraged him to record a star-studded album with mostly younger artists. The result was 1999’s Supernatural, which included collaborations with Everlast, Rob Thomas of Matchbox Twenty, Eric Clapton, Lauryn Hill, Wyclef Jean, Cee Lo Green, Maná, Dave Matthews, K. C. Porter, J. B. Eckl, and others.

Throughout the first decade of the new century Carlos releaseda series of collaboration albums with guest artists such as Aerosmiths’ Steven Tyler and Kirk Hammett from Metallica.  He was also making guest appearances  on albums by other musicians such as Herbie Hancock.

In 2012 Santana released an album Shape Shifter consisting mostly instrumental tracks. 2014 saw the release of his latest album; Corazon.

Ernie Wilkins (arranger) - 1922-1999 :: Ernie Wilkins was a jazz arranger and writer who also played tenor saxophone. He might be best known for his work with Count Basie. He also wrote for Tommy Dorsey, Harry James, and Dizzy Gillespie. In addition to that he was musical director for albums by Cannonball Adderley, Dinah Washington, Oscar Peterson, and Buddy Rich. In his early career he played in a military band, before joining Earl Hines’s last big band. In 1951 he began working with Basie. After 1955 he went free-lance as a jazz arranger and writer of songs as he was much in demand at that time. His success declined in the 1960s, but revived after work with Clark Terry. Eventually Wilkins settled in Copenhagen, Denmark, where he would live for the rest of his life.There he formed the Almost Big Band so he could write for a band of his own formation. The idea was partly inspired by his wife Jenny. Copenhagen had a thriving jazz scene several promising jazz musicians as well as well as a well-established community of expatriate American jazz musicians which had formed in the 1950s and now included representatives like Kenny Drew and Ed Thigpen who joined the band along with Danish saxophonist Jesper Thilo. The band released four albums. Wilkins was responsible for orchestral arrangements on 1972’s self-titled album by Alice Clark (Mainstream Records), a highly sought-after collectible today.

J. Plunky Branch(saxophone) - 1947 :: Many happy returns to Plunky Branch, founder and leader of the Oneness Of Juju Orchestra! J. Plunky Branch is an experienced performer, songwriter and music and film producer.  He is president of his own independent record label, N.A.M.E. Brand Records, through which he has released 25 albums.  At one time Plunky was a studio musician for television’s top-rated sitcom, “The Cosby Show.”  His song “Every Way But Loose” was a top-ten soul music chart hit in London in the 1980’s.  He has appeared on avant-garde jazz albums by Pharaoh Sanders, Hamiett Bluiett and others.  Nowadays Plunky spends his time leading his band onstage playing rousing funk, R&B, jazz, African, reggae, gospel and rap and making music in his recording studio. With his group, Plunky & Oneness, he has opened shows for Patti Labelle, Ray Charles, Earth Wind & Fire, Yellow Jackets, and Frankie Beverly & Maze, LL Cool J, Chuck Brown, and more.  Plunky & Oneness performed at the New Orleans World’s Fair, the National Black Arts Festival in Atlanta (four times) and twice at the Hampton Jazz Festival in his native Virginia.

Peter Ind (bass) - 1928 :: Birthday wishes to Peter Ind! Peter Ind began playing professionally in the late 1940s, including being part of the ‘house band’ on the ship Queen Mary from 1949 to 1951. He relocated to New York City in 1951, where he played with Lennie Tristano, Lee Konitz (1954–57), Buddy Rich, Booker Ervin, Mal Waldron, and Slim Gaillard. He also branched into production at this time, and was a pioneer in stereo recording and overdubbing of jazz music in the 1950s. He produced sessions in his loft for Zoot Sims, Gerry Mulligan, and Booker Little. He founded his own label at the end of the 1950s, where he released the album Looking Out, featuring Joe Puma and Dick Scott. In addition to his own endeavors, he worked in sound engineering for the labels Atlantic, Verve, Bethlehem, and Warwick, founding his own company Wave in 1961. In 1963 Ind moved to Big Sur, California, where he remained until 1966. At this time he concentrated on performing unaccompanied, and recorded several albums of solo material. In 1965 he played with Konitz and Warne Marsh, an association that continued into the 1970s after his return to England in 1967. Private recordings under the Wave imprint began to be issued. In 1984 Ind opened a nightclub in London, the Bass Clef; after several successful years, the club had to close for tax reasons. He is the author of two books: Jazz Visions - The Legacy of Lennie Tristano, a memoir of his association with Tristano and the state of jazz in 1950s New York, and The Environment and Cosmic Metabolism, a look at Wilhelm Reich and concerns about the earth’s future regarding energy

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Peter Ind Trio, Friday 16th November

I remember talking to Peter Ind for the first time at his club The Bass Clef, where I used to go regularly on a monday night to the jam, which often had Guildhall Jazz students of the day in attendance: Steve Williamson, Jason Rebello, Philip Bent, Wayne Batchelor and latterly, Jonathan Gee.  I asked him about Lennie Tristano's famous recording Lineup which caught my imagination in a big way.  I just wanted to check that the person standing before me really was the bass player participating in this momentous recording in jazz history.  I thought then, as I think now, what a privilege it is for all of us in creative improvised music to have such a pioneer pilgrim contributing to our community.  For serious music students and afficionados, or even people interested in transatlantic cultural history, this is a rare opportunity to witness in person, somebody who's directly connected to and has first hand experience of the Lennie Tristano school of the original be-bop era. Looking forward to hearing this lineup with Dave Preston  (guitar), and Yaz Fentazi (Oud), not only because of the players involved, but because it will be a trio of three string instruments, making for the counterpoint type texture that is so important to the Tristano aesthetic (think baroque trio sonata - I know those original Tristano musicans did).  The fact that we're also looking at an Eastern instrument as a lead voice is particularly compelling. 

Photo:  by Brian O'Connor

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AT THE HICKORY HOUSE

From Volume One, Blue Note 1515, originally released in 1956. With Peter Ind (b) and Ed Thigpen (d).

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Looking Out by Peter Ind 1961

This British bass player has been a professional musician since he was in his early twenties, and literally played his way over to the United States by working on the house band (or should we say ship band) on the Queen Mary for three years, beginning in 1949 before finally settling in New York City in 1951. From this new home base, Peter Ind taught music as well as performing and recording with pianist and composer Lennie Tristano and Tristano disciple, alto saxophonist Lee Konitz, with whom Ind worked regularly between 1954-1957. Being associated with Tristano and the musicians who played with him meant a certain style of playing, sometimes described as "cool." These players created quite elaborate melodies, their improvisations sometimes influenced as much by Bach as by "Bird" jazz giant Charlie Parker. A bassist in one of these groups had to develop a very even approach, had to keep time perfectly without any kind of hysterical showmanship, and had to understand how to create an inventively moving harmonic bottom for the many variations, substitutions, and permutations of the chord changes the soloists would come up with. Ind has not totally stuck to this style of playing, however. He performed with a gentleman from the extreme opposite musical conception, drummer and bandleader Buddy Rich, perhaps the greatest jazz showman to ever live. He also performed and recorded with hard bop players such as tenor saxophonist Booker Ervin or the dark-hued, brooding pianist Mal Waldron. Once again in great contrast, this time to Waldron, Ind also recorded an album with guitarist Slim Gaillard, who doesn't seem to be able to play it straight for a minute.Ind has always had an interest in the recording process that has rivaled his activities as a bassist. His first move once he had earned enough money from his New York gigs was to buy his first tape machine in 1953, a simple single-track tape machine. By 1957, he had laid out the moolah for much more state-of-the-art equipment and was one of the first engineers to record live jazz in stereo. Many 

recordings were made in Ind's New York loft in the '50s and early '60s, including sessions with tenor saxophonist Zoot Sims, baritone saxophonist Gerry Mulligan, and dynamic trumpeter Booker Little. Ind set up his own recording studio in 1957, and began his own label, Wave, four years later. This establishes him one of the earlier jazz musicians to realize that self-determination was the only way he would be able to release projects of his own choosing, a typical handicap for musicians such as bassists who are often stuck in the sideman role, but a problem that could also happen to players of any instrument. One of the first projects he assembled for this new label was the album Looking Out (1958-1961), which featured bass solos plus duos with the interesting guitarist Joe Puma and drummer Dick Scott, as well as tracks recorded with a trio and a quartet. He was an early experimenter in the process of overdubbing or multi-tracking, as well as manipulating the speed of a recording. That he was fooling around with such techniques in the '50s is impressive enough, but he was also doing it in the context of jazz, a genre which did not involve itself in studio processes such as this until well into the heyday of the studio-crazy psychedelic rock era, at least 15 years after Ind. Of course at the time, he was criticized by jazz purists. He claims to have created the very first set of rhythm tracks to be recorded apart from a soloist, taped together with drummer Jeff Morton. These were in turn used by 

Lennie Tristano for his now legendary recordings for Atlantic, including Descent in the Maelstrom. Ind also worked as a sound engineer for labels such as Atlantic, Verve, Bethlehem, and Warwick. Ind relocated to the West Coast, enjoying the idyllic climate of Big Sur, CA, from 1963-1966. During this period, he began focusing on full performances as a soloist, and was certainly one of the earliest performers to do this. He presented both live concerts and radio broadcasts of his unaccompanied bass music. Eventually, he recorded several solo bass albums, including one consisting totally of walking bass lines for players to improvise over. In 1965, he again played with Konitz and another Tristano disciple, tenor saxophonist Warne Marsh. Ind decided to return to England and continued to perform, teach, and manage his label. Activities with Konitz and Marsh continued, including tours in 1975 and 1976. In 1984, he began another chapter in his activities. All musicians love to sit around complaining about the clubs they have played and how lousy the managers are, but how many musicians have taken it upon themselves to actually try and manage their own nightclub? Ind did just this when he opened the Bass Clef in London, which for a period was one of the city's most popular jazz clubs. Musicians also liked it, as it is possible that dealing with one of their own in a management capacity might be pleasant. One of Ind's appreciated qualities was his insistence on having decent dressing rooms for the players, as well as the club providing an on-premises set of accommodations for touring acts. Tax problems were attributed to be the single biggest cause of the Bass Clef's demise, and there was even a legendary extension granted when the tax inspector called onto the case turned out to be a jazz fan. Ind has continued to focus on recording projects and his label.    Biography by Eugene Chadbourne