Bobby Bradford and Vinny Golia have assembled a quartet to carry from California to Albuquerque to play Outpost Performance Space on March 30, 2o17 — Rhythm section will be Tina Raymond(drums) and David Tranchina(bass) — photo of Bobby by Mark Weber — May 17, 1975
The Thursday Jazz Radio Show
March 30, 2o17 Jazz @ Noon every Thursday (starts at 12:07 after the satellite news) Host MARK WEBER KUNM Albuquerque, USA 89.9 FM (Mountain Standard Time) also streaming on the web KUNM.org Current time zone offset: UTC*/GMT -6 hours (*Coordinated Universal Time)/Greenwich Mean Time)
Bobby Bradford is situated historically in a very unique camp: Musicians of his generation could go two different directions. They all grew up as beboppers and most of them went into straight-ahead bop-derived jazz (for instance, Cedar Walton and BB went to the same high school in Dallas at the same time), whereas, this other bunch went into Out music having sensed that that was where Charlie Parker would have eventually arrived had he lived longer: the free music philosophy certainly implied in Parker’s music.
What we have with this generation of artists who went Out (also labeled avant-garde, new music, free jazz) is a select group who knew chord changes and bebop and had that as part of their genetic make-up but took it into further realms of harmony and rhythm. Even free rhythm. This select group with this sensibility includes Don Cherry, Ornette, John Carter, Edward Blackwell, Dewey Redman, Paul Bley, Horace Tapscott, Coltrane, Bruz Freeman, John Gilmore, Sheila Jordan, Buell Neidlinger, Henry Grimes, Albert Ayler, Sonny Simmons, Dolphy, Wilber Morris — all born between 1928 and 1936 and like Bradford, as a teenager in Dallas picked up every bop 78 as they came out.
One also should add that most of these guys were sidemen in R&B bands very prevalent in the South and Southwest in the 1950s. Bebop + R&B = Out? We’ll ask. Is Bull Moose Jackson the precursor of Fred Anderson?
I was so lucky to grow up around Bobby Bradford and John Carter as I was subjected to good ear training. There was none of this avant posturing of: Let’s throw a bunch of notes at the wall and see if anything sticks. Bobby and John were investigating harmony not randomness. Not that there’s anything wrong with randomness but I wouldn’t want a steady diet of it.
Today on the All That Jazz radio show Thursday Edition we have the good fortune to have Bobby Bradford sitting in with us Live in studio along with whoever in the quartet care to join us for conversation and elucidation. Bobby has been one of my main advisors on the Thursday jazz show for 20 years as well as a frequent telephone guest BUT this will be the first time he is actually in-studio. The Bobby Bradford – Vinny Golia Quartet will be at the Outpost this night.
Charlie Haden and Bobby Bradford — February 17, 1980 Los Angeles (at Century City Playhouse) – photo by Mark Weber
Sunday early evening jam session (it gets dark early this time of year) at The Little Big Horn, 34 N. Mentor, Pasadena, California — November 28, 1976 — Glenn Ferris (trombone, his back to camera), Bobby Bradford(cornet), James Newton(flute), Vinny Golia(bass clarinet), and on-stage but not in photo: Roberto Miranda & Richard Rehwald (basses), William Jeffrey(drums), John Carter(clarinet) — photo by Mark Weber
Bobby Bradford (Roberto Miranda on bass) — February 25, 1977 — photo by Mark Weber — The Bradford Archive has a marvelous recording from this evening we’re hoping to entice some nice record company to release someday (quartet with BB, Glenn Ferris, Kim Calkins, Roberto) — Recorded on big ten-inch reel-to-reels by master recordist Bruce Bidlack subsequently professionally transferred into digital format — Line drawing by MW July 24, 1986
Bobby Bradford on John Breckow’s Friday night jazz radio show on KPFK Los Angeles — January 14, 1977 — photo by Mark Weber — You can see that they have Bobby’s albums on Flying Dutchman on the desk — Bobby will be on the Thursday jazz show at KUNM Albuquerque March 30th and hopefully some of his quartet also, who will be unpacking their gear at the Outpost Performance Space that same evening
Bobby Bradford Mo’tet (trio)( BB has always maintained that “Mo” means the more money available then the more tet you get) — October 21, 1979 (my 26th birthday coincidentally) at Century City Playhouse, Los Angeles — Bert Karl (drums, who is still in the mix out in L.A.) and the late Noah Young (aka Richard Youngstein and was on the downtown scene in NY certainly between 1967-1973 as he made records with Roswell Rudd, Carla Bley, Paul Bley, Bobby Naughton those years — Not sure when exactly he relocated to L.A.) — photo by Mark Weber
The Obihiro Cowboys under the direction of William Roper (tuba, percussion, and cowboy hat), Michael Vlatkovich (trombone &percussion), Bobby Bradford (cornet &percussion), and Joseph Mitchell (drums) at The Blue Whale, Japantown, Los Angeles — June 21, 2015 — I was in town to bury my mom and these guys played such incredible spontaneously improvised music this night, it was off the map, just the perfect bath I needed —- photo by Mark Weber
Stanley Crouch backstage at Schoenberg Hall, UCLA — October 20, 1979 —- Stanley says of Bobby in his book CONSIDERING GENIUS (2006) regarding his years teaching at Claremont Colleges (1968-1973) “Bradford had a very detailed overview of the entire music, from New Orleans to what we were trying to do [in Stanley’s band Black Music Infinity] . . . Bradford was one of the most intelligent men I had ever known and his sophistication was greater than that of any musician I had ever known to that point.” — photo by Mark Weber
Vinny Golia Chamber Trio — February 7, 1981 — Wayne Peet (piano), John Rapson (trombone), Vinny (woodwinds) at Storie-Crawford Studio, Santa Monica, California — photo by Mark Weber
Steven Isoardi and Vinny Golia — August 14, 2o15 LACMA — photo by Mark Weber — Steven is a scholar of Los Angeles jazz with 3 books out on that subject, two of which on Horace Tapscott — He is also a contributor to the on-going Bobby Bradford TimeLine project (Thanks Steve you’re a gentleman AND a scholar)
Tina Raymond (August 14, 2o15) and Vinny Golia (February 17, 1980) – — photos by Mark Weber
Tina Raymond’s drum kit (and Tina) — August 14, 2o15 at Los Angeles County Museum of Art (Angelinos just call it: LACMA) —– photo by Mark Weber
The heroic Tom Guralnick, who runs the Outpost Performance Space in Albuquerque, against all odds, and is producing the Bradford concert tonight (March 30, 2o17) — photo by Mark Weber — October 10, 1999 — for this shot I asked Tom to look very very serious straight into the lens
I didn’t own a camera at this time — May 17, 1975 — This shot was done with a plastic point & shoot Brownie that I think belonged to my Mom —— Stanley Crouch & Black Music Infinity: David Murray(tenor), Bobby Bradford(cornet & suspenders), Roberto Miranda (subbing for Mark Dresser on bass), James Newton(flute — he’s sitting on that balustrade) and Stanley on drumset — photo by Mark Weber — Claremont Colleges, California
Haiku & line drawings by Ronald Baatz — August 1996 — collection of Mark Weber
Collage by Mark Weber — March 29, 1994