Tag Archives: Sammy Price

OSCAR PETTIFORD, FOUND

OP front

Bassist, cellist, and composer Oscar Pettiford is in the odd position of being both legendary and forgotten (as Whitney Balliett wrote of Pee Wee Russell). If you ask any aficionado of jazz string bass playing to name a dozen favorites — living and dead — it’s likely that the names will come easily.  But Pettiford’s is often not among them.

Yes, he died young, but not before performing and recording every famous musician (with some notable exceptions) in a short career.  An incomplete list would include Duke Ellington, Louis Armstrong, Charlie Parker, Bud Powell, Miles Davis, Billie Holiday, Thelonious Monk, Dizzy Gillespie, Art Tatum, Django Reinhardt, Les Paul, Charlie Christian, Gil Evans, Sonny Rollins, Art Blakey, Woody Herman, Coleman Hawkins, Ray Charles, Stan Getz, Lucky Thompson, Charles Mingus, Zoot Sims, John Coltrane, Sonny Stitt, Julius Watkins, Ben Webster, Sammy Price, Ruby Braff, Mel Powell, Ellis Larkins, Max Roach, Shelly Manne, Billie Holiday, Red Norvo, Clifford Brown, Buddy De Franco, Phineas Newborn, Kai Winding, Roy Eldridge, Ray Brown, Lionel Hampton, Don  Byas, Clyde Hart, Earl Hines, Budd Johnson, Joe Thomas, Pee Wee Russell, Jimmy Giuffre, Martial Solal, Attlia Zoller, Lee Konitz, Warne Marsh, Billy Eckstine, Cozy Cole, Shadow Wilson, Charlie Shavers, Johnny Hodges, Rex Stewart, Cootie Williams, Ed Hall, Lawrence Brown, Sonny Greer, Maxine Sullivan, Dick Hyman, Eddie Bert, Joe Derise, Ike Quebec, Jonah Jones, Buck Clayton, Helen Humes, Benny Harris, Boyd Raeburn, Serge Chaloff, Howard McGhee, Sir Charles Thompson, Wynonie Harris, Vic Dickenson, Red Rodney, Tal Farlow, Denzil Best, Jo Jones, Leo Parker, Al Haig, Al Hibbler, Nat Pierce, Bill Harris, Howard McGhee, J.J. Johnson, Art Taylor, Wynton Kelly, Lockjaw Davis, Jackie McLean, Kenny Clarke, Dave McKenna, Milt Jackson, John Lewis, Chris Connor, Hank Jones, Earl Coleman, Thad Jones, Tommy Flanagan, Donald Byrd, Billy Taylor, Chuck Wayne, Roy Haynes, Art Farmer, Gigi Gryce, Al Cohn, Frank Wess, Jimmy Cleveland, Barry Galbraith, Joe Morello, Joe Wilder, Harry Lookofsky, Jimmy Jones, Urbie Green, Ernie Royal, Herbie Mann, George Barnes, Clark Terry, Dave Schildkraut, Helen Merrill, Jimmy Raney, Horace Silver, Doug Mettome, Quincy Jones, Duke Jordan, Hank Mobley, Kenny Dorham, Cecil Payne, Toots Thielmans, Red Garland.

This suggests that Oscar’s peers respected him and called him for gigs and recordings.  It’s not as if he was obscure: his career was longer than, say, Blanton’s or Steve Brown’s.  But, oddly for jazz, which loves to mythologize the musicians who die young and abruptly (and Pettiford died as the result of a 1960 automobile accident) he hasn’t received the benefit of the weird reverence fans and writers have for the young dead.

Of course, it could be that bass players don’t get the respect they and their instruments deserve, but it is and was hard to ignore Pettiford on a session. He offered a rhythmic foundation that was powerful rather than obtrusive, but when he soloed, his lines have the solid eloquence that any horn player would aspire to — while seeming light rather than ponderous.  And as the list of players above suggests, his musical range was exceedingly broad: he wasn’t captured on record in free jazz or ragtime, but he elevated every other variety of jazz and jazz vocal performance he was part of.  Had he lived longer, he might have enjoyed the visibility of a Milt Hinton or a Ray Brown, but we have only brief moments of him on film (the 1945 THE CRIMSON CANARY) and a few seconds of his speaking voice.

Surely he should be better known.

Enough words and keystrokes for the moment: listen to his 1960 feature on WILLOW WEEP FOR ME:

and here he is, playing his own BLUES IN THE CLOSET — from a little-known 1953 television broadcast — on cello (which he took to for a time after breaking an arm in a baseball game):

And his stirring solo on STARDUST:

Now, two pieces of good news that might go some distance in making Oscar’s name and music known to a larger audience.  One is that there is a YouTube channel, PettifordJazz, with sixty videos of Pettiford solos, ensembles, and compositions.  That means that no one has to start collecting Oscar’s music — it is being made available to all for free.

Oscar (or “O.P.”, as his colleagues called him) also spent the last two years of his life in Europe (mostly in Scandinavia and Germany), and recorded often there.  Sessions with guitarist Attila Zoller have been issued and reissued on a variety of labels (in the vinyl era, they appeared on Black Lion) and a famous 1960 concert in Essen with Bud Powell, Kenny Clarke, and Coleman Hawkins was available forty years ago.  Recordings made in 1958-59 for the German radio network have now been issued for the first time on compact disc, in beautiful sound, as OSCAR PETTIFORD: LOST TAPES — GERMANY 1958 / 1959, on SWR Music.

American expatriates Lucky Thompson (on soprano sax for a gorgeous, melancholy SOPHISTICATED LADY) and Kenny Clarke (drums on the final five performances of the disc) are the “stars,” but Zoller stands out as a beautifully measured guitarist.

OP cover rear

And although some US critics of the time might have been condescending to European players, this disc shows their equal mastery. Trumpeter Dusko Goykovich duets with Oscar on the opening BUT NOT FOR ME.  Other notable players here are clarinetist Rolf Kuhn; light-toned tenorist Hans Koller; baritone saxophonists Helmut Brandt, Helmut Reinhardt, Johnny Feigl; altoist Rudi Feigl; guitarist Hans Hammerschmid; drummers Jimmy Pratt and Hartwig Bartz.  The songs are a mix of standards and originals: BUT NOT FOR ME / SOPHISTICATED LADY / A SMOOTH ONE / O.P. (Hans Koller) / MINOR PLUS A MAJOR (Kuhn) / POOR BUTTERFLY / ANUSIA (Hans Koller) / MY LITTLE CELLO (Pettiford) / THE NEARNESS OF YOU / YESTERDAYS / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET (Pettiford) / BIG HASSLE (Hammerschmidt) / ATLANTIC (Helmut Brandt) / ALL THE THINGS YOU ARE / BLUES IN THE CLOSET — the last two are live performances.

And just because it’s accessible and stirring, here is that film clip — from an otherwise undistinguished 1945 murder mystery, THE CRIMSON CANARY, which features Hawk, Pettiford, Howard McGhee, trumpet; Sir Charles Thompson, piano; Denzil Best, on a fast SWEET GEORGIA BROWN line by Hawkins called HOLLYWOOD STAMPEDE:

Ultimately, I think if you’d asked Coleman Hawkins, Duke Ellington, or any number of jazz luminaries, “What about this O.P. fellow?  Should I listen to him?” the answer would have been a very strong affirmative.  So let us do just that. These tapes were lost, but have been found: spread the word about Oscar.  Remind those who have forgotten; introduce those who never knew.  “Learn it to the younguns!” as the youthful protagonist of Ellison’s INVISIBLE MAN hears at the start of that novel.

May your happiness increase!

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EMMETT BERRY’S BUESCHER TRUMPET, 1952

This Buescher trumpet, the advertisement tells us, is the model Emmett Berry plays with Johnny Hodges.  For tremendous power and range, which Mr. Berry would have had on any horn.

Emmett Berry came from the tradition of individualistic players — with an intense near-ferocity no matter what the context . . . with Fletcher or Horace Henderson, Don Byas, Coleman Hawkins, Cozy Cole, Edmond Hall, Bennie Morton, Buck Clayton, Dickie Wells, Buddy Tate, Count Basie, Jimmy Rushing, Walter Thomas, Ben Webster, Budd Johnson, Oscar Pettiford, Harry Carney, Johnny Guarneri, Illinois Jacquet, Billie Holiday, Teddy Wilson, Benny Carter, Eddie Heywood, Vic Dickenson, John Kirby, Gerald Wilson, Betty Roche, Helen Humes, Johnny Thompson, Jimmy Witherspoon, Al Sears,Al Hibbler, Lem Davis, Dodo Marmarosa, Slim Gaillard, John Simmons, Zutty Singleton, Sidney Catlett, Sammy Price, Milt Hinton, Jo Jones, Eddie Bert, Lucky Thompson, Bennie Green, Lawrence Brown, Sidney Bechet, Ruby Braff, Art Farmer, Claude Hopkins, Pee Wee Russell, Bob Brookmeyer, Andy Gibson, Paul Gonsalves, Cannonball Adderley, Shorty Baker, Chu Berry, Earl Hines, Joe Williams.  On Keynote he was the third trumpet player with Joe Thomas and Roy Eldridge.  He was in the trumpet section for a Miles Davis and Gil Evans session.

Between 1937 and 1967, he seems to have been active on gigs and in the recording studio, even if some of that work had him playing second trumpet to Buck Clayton or as part of the brass section behind a singer.  But this record of activity says to me that various people (Harry Lim, John Hammond, Count Basie, Jimmy Rushing, Buddy Tate) valued him as a powerful, reliable, creative player — someone who could swing, improvise, blend with a section, sight-read music the first time he saw it.

Buck Clayton’s story of Berry whacking Jimmy Witherspoon in the head with his trumpet when Spoon had been particularly out of line suggests that Berry was not someone to be trifled with, and his phrasing does suggest an expert boxer and dangerous counterpuncher.

But no one seems to have interviewed him during his playing career, and I have it in my memory (true?) that he suffered some sort of late-life mental collapse and retired from music.  (What does anyone know of him in the years from 1967 to 1993?)

His sound– so vehement — remains in my ears.  On the early Clef sessions with Hodges, on THE SOUND OF JAZZ, backing Rushing on Vanguard — unmistakable.

Here’s “a little good blues” with Earle Warren, Sir Charles Thompson, Gene Ramey, and Oliver Jackson, from 1961:

Berry doesn’t take enough space, and his vehemence is hinted at rather than fully released, but his sound and physical presence are fully evident.

He’s someone I miss.

May your happiness increase.

WOW! DECEMBER 29, 1940: LESTER YOUNG, SHAD COLLINS, J.C. HIGGINBOTHAM, SAMMY PRICE, HAROLD “DOC” WEST

Here’s the good news.  What many of us have only read about in discographies exists: discs preserving thirty minutes of a Village Vanguard jam session, overseen by Ralph Berton, then broadcasting jazz on the air on New York City’s municipal radio station, WNYC.

And thanks to the Library of Congress, National Public Radio, and the tireless Franz Hoffmann, we can hear two minutes and thirty-six seconds of a jump blues, caught in the middle of Lester’s solo.  The sound is good; the discs were well-preserved.

The less good news is that the NPR commentator (perhaps unconsciously modeling himself on Alistair Cooke) talks over the music at the start and it is such a brief excerpt.  But it gives one hope for more glorious jazz archaeology:

Thank you, Lester, Shad (trumpet); Higgy (trombone); Sammy Price (piano); Doc West (drums); Ralph Berton; anonymous WNYC engineer / recordist; the Library of Congress; National Public Radio; Franz Hoffmann.

May your happiness increase.

“MESSAGE FROM MARS”

No, the aliens haven’t landed.  And this isn’t a detour into NASA’s territory or a nostalgic trip back to the Mickey Mouse Club (although I haven’t been able to get one ancient “The Martians come to New York” joke out of my head*).

MESSAGE FROM MARS is the name of a splendid new disc by Echoes of Swing, a world-class band that lives up to its name and more.  While retaining its essential identity — flexible and convincing — this quartet can sound like a much larger unit, and the disc is characterized by a delightful variety in mood, tempo, and approach.  The players are superb chameleons who remain true to themselves: Chris Hopkins (himself a superb pianist) on alto sax; Colin T. Dawson on trumpet and vocal; Bernd Lhotzky on piano; Oliver Mewes on drums.

Each of those musicians savors the past and does it personal homage: Mewes suggests Catlett and Jones; Lhotzky celebrates Waller and Nat Cole; Dawson evokes Eldridge and Emmett Berry; Hopkins summons up Pete Brown and Carter.  But this isn’t a repertory effort: the music produced here is both profound and hilariously flightly, skittering from surprise to surprise.

On the surface, Echoes of Swing might sound like a John Kirby Sextet spin-off, with tightly voiced ensembles and an affection for “jazzing the classics.”  But they avoid the potential claustrophobia of these categories by being very eager to play hooky: you’ll hear echoes of many other styles and hints of other approaches, all fused delightfully into something both nostalgic and startling.

But don’t take my word for it.  Here are Echoes of Swing performing James P. Johnson’s SWINGA-DILLA STREET (recorded only by Fats Waller and his Rhythm before this):

And here’s a Lhotzky original, HIS HONOUR AND THE VERMIN (FLEAS IN MY WIG):

MESSAGE FROM MARS offers a deliciously subtle and witty tasting menu of music — a disc you could listen to all the way through without the slightest hint of monotony; at the same time, you could savor each of the sixteen miniatures for its own surprises without ever getting tired.  There I saw this group for the first and only time in Germany in 2007, thanks to Manfred Selchow, and found them exciting and deep: the disc captures their subtleties and drive wholly.  It’s beautifully recorded and (as a bonus) has expansive notes by our own Dan Barrett.

The songs are SHAKE IT AND BREAK IT /  MESSAGE FROM MARS (groovy and futuristic by Sid Phillips) / THE GHOST OF MARSDEN GHETTO (an atmospheric piece by Colin T. Dawson) / DON’T EXPLAIN / BUTTERFLY CHASE (Lhotzky-Chopin) / THE GOON DRAG (Sammy Price) / DELIRIUM (Arthur Schutt) / HIS HONOUR AND THE VERMIN / MOONLIGHT FIESTA (also known as PORTO RICAN CHAOS) / LIEBESLIED (Kreisler) / TWILIGHTNIN’ HOPKINS (by Chris) / DON’T SAVE YOUR LOVE FOR A RAINY DAY (an obscure Harold Spina pop tune) / ODEON (Ernesto Julio Nazareth) / BUGHOUSE (Red Norvo – Teddy Wilson) / SPRING IS HERE / GAVOTTE (Shostakovich).

Here’s what Scott Hamilton said about this band:

I’ve been listening to these guys for a few years now, and they’re always full of surprises.  This CD is their best yet.  They all have a deep understanding of the literature, and they play from inside.  How they do it all with four instruments is beyond me.

But fortunately the CD isn’t beyond our reach: visit http://www.EchoesofSwing.com. for more information.

[*The Martians land in New York.  They’re friendly interstellar tourists who want to learn everything about us — to swap information and customs.  A curious New Yorker hands one of the Martians a toasted bagel to see what the alien might make of it.  The Martian, to everyone’s surprise, sniffs the bagel, inserts it into where his jaws might be, chews it a bit, and says (through simultaneous translation), ‘Mmmmm.  This would go great with cream cheese and lox.'”]

KALLY PRICE IS POWERFULLY HERSELF

Kally Price is a fully realized singer, not for the timid, someone hard to ignore.  She doesn’t create background music.

Price has a controlled emotional power than is remarkable.  It’s not overacting or “dramatic.”  Rather, she has an impassioned definiteness that comes from within; it’s not something she learned how to do in acting school.  She doesn’t shout or rant, but it’s clear she is not going to let anything get in her way when she’s delivering the messages contained in a song.

I had not heard of her before our California trip, but many people told me about her.  They went out of their way to let me know she wasn’t formulaic or ordinary.

I knew IF I HAD A RIBBON BOW from Maxine Sullivan’s wistful 1937 version, and it had always struck me as poignantly girlish: if I had a ribbon bow, then Prince Charming would come and find me.  The singer of this folk song had not been able to learn much about assertiveness training, had never heard of Friedan or Steinem, so the song struck notes of wishing rather than action.  Kally Price’s rendering is powerful, and you imagine her both singing the song (she is faithful to it) and examining it at arm’s length: pity this poor girl in what I imagine is her best frock, waiting for someone to come and love her, much like one of Toni Morrison’s doomed little girls in THE BLUEST EYE.  Kally performs the song with fidelity but is also able to suggest her frustration at being confined to the constricting world of such narrow hopes and aspirations.

If my deconstructing of this text doesn’t appeal to you, sit back from your computer and witness a forceful performance by a musical actress with great skill and undeniable passion.  Her accompanists are Leon Oakley, cornet; Craig Ventresco, guitar; Rob Reich (at the piano instead of the accordion), and Ari Munkres on string bass.  This performance was recorded at San Francisco’s Red Poppy Art House in May 2010, just before Kally recorded her second CD as a leader:

She’s someone serious — not to be taken lightly!

The other performance from the Red Poppy is a fascinating merging of an a cappella I WANT TO LIVE and Price’s reimagining of RHYTHM — not the Gershwins’ classic but the 1933 Spirits of Rhythm perpetual-motion machine.  Again, whether she’s creating a ferocious soliloquy or she’s swinging deeply, Kally Price is someone to take notice of:

I’m making room on my shelves — between Bent Persson and Sammy Price — for Kally Price’s CD . . . coming soon to you from Porto Franco Records.

GIFTS FROM FRANCE

Like the British, the French embraced American jazz before the Americans did, and jazz players found France welcoming as well as nearly colorblind.  I haven’t visited France, but INA — the French National Audiovisual Institute — sent me some holiday presents that I have been enjoying greatly.  

INA has created a national archives of what has been broadcast over French radio and television, over 1.5 million hours, of which 28,000 hours are available on the site.  You can see what treasures they hold at http://www.ina.fr.  And each day new content is added.  Eighty percent of these video and audio programs are available online for free, and the remaining ones can be purchased for downloading or burning to DVD at boutique.ina.fr.

When I first  heard about the jazz videos available for viewing, I lost myself for a few hours on the site, watching, among other things, a 46-minute video filmed at the 1958 Jazz de Cannes festival, featuring Vic Dickenson, Sidney Bechet, pianist Joe Turner, Ella Fitzgerald, Coleman Hawkins, Dizzy Gillespie, Roy Eldridge, Bill Coleman, and others.   

Two new CD sets show how deeply the French love this music. 

http://boutique.ina.fr/cd/musique/jazz/PDTINA001734/jazz-aux-champs-elysees.fr.html

This disc (76 minutes) draws on the radio program JAZZ AU CHAMPS-ELYSSES, which had a twenty-year run.  Its creative director was pianist Jack Dieval, and some idea of its spirit can be heard at the very start of the disc where — after an introductory theme written by Dieval, you hear JUMPIN’ WITH SYMPHONY SID. 

The programs featured a fine French house band, full of local jazz talent, as well as appearances by American and European jazz luminaries, and occasionally a jam session where the participants would be playing from different European radio studios. 

This disc — I hope the first of a long series — concentrates on the luminaries and the JACE house band.  Those who know their French jazz will recognize the names of Geo Daly, Gerard Badini, Daniel Humair, Michel de Villers, Rene Thomas, Guy Lafitte among others.  But the special delights (for me) of this disc come from Blossom Dearie, Stephane Grappelli, the Delta Rhythm Boys, Donald Byrd, Bobby Jaspar, Chet Baker . . . and a trio of exalted tenor saxophonists. 

First, there are two performances by Stan Getz and a large orchestra with arrangements by Michel Legrand — a melting I REMEMBER CLIFFORD and an energized PERDIDO. 

Then (we are climbing the mountain, in my estimation) Lucky Thompson — with rhythm — explores LOVER MAN (briefly) and DON’T BLAME ME.

Finally (at the apex), two joyous performances by Lester Young in 1956: LESTER LEAPS IN with the SDR big band (Horst Jankowski, piano) and JUMPIN’ WITH SYMPHONY SID (backed by a trio including pianist Rene Urtreger).  Joyous music. 

And the other gift is a two-disc set of live performances from the Cannes Jazz Festival, all recorded between July 8-13, 1958:

What could be better than this picture of Dizzy, testing the waters?

The Cannes set is divided between jazz “classique” and “moderne,” distinctions which have blurred in the past fifty years, although the music has not. 

The “classique” performances include Bechet ferociously bullying his Fernch compatriots on three selections, tenderly playing ONCE IN A WHILE with Vic Dickenson and Teddy Buckner; pianists Sammy Price and Joe Turner, Albert Nicholas playing the blues. 

Then we move into even more exalted realms: a Coleman Hawkins solo on INDIAN SUMMER, four songs by Ella Fitzgerald, and two jam sessions — one featuring Vic, Hawkins, and Roy with French hornmen de Villers and Hubert Rostaing, and a final trumpet joust on JUST YOU, JUST ME — Bill Coleman, Dizzy, Roy, and Buckner.  Hot stuff!  And the rhythm sections are varied and fine: Martial Solal, Lou Levy, Arvell Shaw, J. C. Heard among others. 

The “moderne” disc offers bassist Doug Watkins — always rewarding — as well as Art Taylor, Solal, and lots of Kenny Clarke and the reliable Pierre Michelot.  There are substantial explorations by Donald Byrd and Bobby Jaspar, Zoot Sims, Tete Montoliu, the Modern Jazz Quartet, Barney Wilen, Michel Hausser, Berney Wilen, Sacha Distel, Stan Getz, and Dizzy — I assume having changed his clothes for his appearance onstage.

http://boutique.ina.fr/cd/musique/jazz/PDTINA001684/jazz-sur-la-croisette.fr.html

These sets (and the videos one can watch or buy from INA) are marvelous glimpses of Olympians who won’t come again.

BREATHING THE SAME AIR

Were I a different sort of person, I could blame my parents, who were lovingly overprotective.  I could be irked at them now for not encouraging me to leave my suburban nest at 14 or 15 to go into New York City.  Had they been more adventurous souls themselves, I might have seen Red Allen, Pee Wee Russell, Rex Stewart in the flesh.  But by the time I began to make the trek, Ben Webster had left for Europe; Coleman Hawkins had died. 

Rather than lament the ones I’ve missed, I will list the names of the heroic players and singers  — now dead — I did get to see.

Trumpets / cornets: Louis Armstrong, Bobby Hackett, Buck Clayton, Ruby Braff, Sweets Edison, Dizzy Gillespie, Roy Eldridge, Ray Nance, Louis Metcalf, Herman Autrey, Doc Cheatham, Pat Jenkins, Joe Newman, Joe Thomas, Max Kaminsky, Wild Bill Davison, Pee Wee Erwin, Dick Sudhalter, Yank Lawson, Billy Butterfield, Jimmy McPartland, Johnny Windhurst, Taft Jordan, Franc Williams, Jimmy Maxwell.

Trombones: Vic Dickenson, Dicky Wells, Benny Morton, Bobby Pratt, Georg Brunis, Dick Rath, Tyree Glenn, Eli Robinson.

Reeds: Benny Goodman, Stan Getz, Al Klink, Herb Hall, Kenny Davern, Sal Pace, Russell Procope, Benny Carter, Johnny Mince, Bud Freeman, Buddy Tate, Phil Bodner, Sam Margolis, Harold Ashby, Earle Warren, Rudy Rutherford, Zoot Sims, Al Cohn, Clifford Jordan, Rudy Powell, Budd Johnson, Eddie Barefield, Lockjaw Davis, Allen Eager, Barney Bigard, Paul Quinichette, Illinois Jacquet, George Kelly.

Pianos: Teddy Wilson, Earl Hines, Count Basie, Claude Hopkins, Dill Jones, Dick Wellstood, Ralph Sutton, Jane Jarvis, Hank Jones, John Bunch, Jimmy Rowles, Eubie Blake, Mary Lou Williams, Bill Evans, Ross Tompkins, Joe Bushkin, Ellis Larkins, Sammy Price, Art Hodes.

Guitars: Eddie Condon, Freddie Green, Wayne Wright, Herb Ellis, Al Casey, Bernard Addison, Carmen Mastren, George Barnes.

Basses: Milt Hinton, George Duvivier, Charles Mingus, Al Hall, Bill Pemberton, Gene Ramey, Jack Lesberg, Bob Haggart, Franklyn Skeete.

Drums: Jo Jones, Gene Krupa, Cliff Leeman, Chauncey Morehouse, Buzzy Drootin, Tommy Benford, Oliver Jackson, Eddie Locke, Sonny Greer, Sam Woodyard, Gus Johnson, Jake Hanna, Connie Kay, Freddie Moore.

Vibraphone (or Vibraharp): Lionel Hampton, Red Norvo.

Violin: Joe Venuti.

Vocals: Jimmy Rushing, Helen Humes, Lee Wiley, Bing Crosby, Al Hibbler, Maxine Sullivan.

I miss them all, but feel so fortunate that I was there to breathe the same air, to hear their sounds.