Clark Terry

Anything goes here on Cosmosis.

Before that, you heard Dinah Washington doing the Cole Porter tune, I've Got You Under My Skin, and Dinah has a heck of of an ensemble backing her on that, including Clark Terry, Maynard Ferguson, Clifford Brown, and Max Roach.

Yeah, amazing stuff.

Recorded in August of 1954 in Los Angeles, Dinah, Washington.

Yeah.

I love this quote, Clark Terry.

He said that the process of learning jazz is imitate, assimilate, innovate.

I love that.

Ladies and gentlemen, Lambert, Hendrix, and Bavard.

And ladies and gentlemen, we have with us On trumpet, Clark Terry.

And on the tenor saxophone, the man for whom Adolph Sax invented the horn, Coleman Hawkins.

Hey, watermelon man.

yeah the the beat the rhythm of the band there even before david comes in on the sax it just reminds me of my favorite things and i keep expecting to hear the soprano of coltrane come in but it's a it's a great clip dad that that was perfect great way to

start the clips it is a great way to start it off that was song number six there are only six tracks on the album in american uh i'm sorry african drums was written originally by beaver harris who after world war ii got into drums inspired by max roach uh Beaver Harris played for the likes of Joe Henderson, Freddie Hubbard, Dexter Gordon, Albert Eiler, Lee Konitz, Thelonious Monk, Russell Budd, Sonny Rollins, McCoy Tyner, Sonny Stitt, Clark Terry, Chet Baker, Doc Cheatham.

who is this guy what instrument did he play he is a drummer

drummer okay

And Merv Griffin had a great band.

Clark Terry on drums.

Merv had an incredible band.

One day, Merv let dad on his show, on the Merv Griffin show, sing a whole song with the NBC band.

And who was that and what was that? That was nice.

Yeah, that's Clark Terry, Canadian trumpeter, off the album The Best of Clark Terry.

I don't know if that cut goes back a lot further than that.

It probably did because we lost Clark Terry before then.

But I don't know when that cut is originally from.

That would be Clark Terry, my buddy, the man that I hung out with for a couple of weeks back in the mid-70s.

Yes, he was wonderful and so good.

Literally, when Clark Terry came to Rick's Cafe Americaine, it was the best money night because it was standing room only when he was there performing.

I kind of found my position as the person who kept everything kind of moving together.

Clark Terry always said that the process of learning jazz was imitate, assimilate, innovate.

And I kind of see that as like you copy people speaking the language and you're speaking the language and you speak it your own way.

I know a lot of people were in a rush to get to the innovate part, but I was always just excited to feel what it felt like to be really speaking it.