The Liner Notes

http://youtu.be/S_j4bEspZ2I

This is probably my favorite piece we did while I was in the One O’Clock Lab Band.  Pat Williams did the composition and is one of my favorite writers.  Mike Davis is on the trumpet solo, and Pete Brewer is on flute and tenor sax solos. Marc Johnson is on bass and may be the best bassist ever in the One.

This was recorded at the North Side Coliseum in Ft. Worth in early December of 1975, on a Friday night.  There were other groups on the concert, but I don’t remember who they were. The recording isn’t great because the sound man had us peaking out on the recording meters.  He didn’t know we could play with so much power!  I tried to adjust the levels a little bit myself here at home, but it’s still distorted at times.

The night was very special for me, although I was not impressed with where we had to play.  My parents and Susan were there to hear me play on my only trip with the band back to my hometown.  My dad used to take me to hear the One O’Clock play in Fort Worth when I was in junior high school.  I remember meeting Leon Breeden after one of the concerts, and he told me that the sky was the limit when he heard I was a trumpet player. To be back in Fort Worth playing in that band with Leon Breeden conducting was a great feeling for me.  I had come a long way from that junior high kid talking to Leon Breeden, and the odds of a kid from Ft. Worth making the nation’s best college jazz band were remote.  Only about 5 of the members of the band were from Texas.

There is another reason I like this recording.  Most of the lab band albums that have been issued annually since 1967 have been studio recordings.  Most people never hear live recordings of the band, and live recordings are always more exciting.  You can hear an energy in this band that you don’t hear in the studio.  There is no substitute for playing in front of a live audience.  The great players raise their game when the lights go on, and this band was full of great players.

Chuck Schmidt’s lead trumpet playing is amazing.  This piece has the hardest lead trumpet lines I have ever heard.  Most professionals could not play this piece as well, and Chuck was just a student.  We all knew he would do well after he left school, and he played lead trumpet with Buddy Rich for over a year in 1977-78.  Also, his power was incredible, and this live recording picks up on that.

By the way, we only played this piece a few times before that night.  It came together more each time we played it, however.  It could have been a train wreck for any other college band.  You have to remind yourself that you are listening to school kids play this music. I’m glad the tape survived for almost 40 years.

This was our final number of the night.  We had a two hour rehearsal in the afternoon, then a two hour concert ending with this tune with three encores.  It was outside, hot, and it had been a long day.  I don’t know how Chuck Schmidt, our lead trumpet, did all of this by that time.  My lip was gone at that point, unless we had a break.  Chuck was an amazing trumpet player, and we all knew he would make it in the music business.  He played lead trumpet with Buddy Rich’s band for over a year, and Buddy always thought that was his best band during that time.

This was our singer that year, who also went on the Russian trip the following month.  She is now Dr. Lebon and teaches at the University of Miami in the jazz vocal department.

Here’s another tune from the 1976 KERA TV show.  My friend, Mark Taylor, did this composition while we were both students at North Texas. He is a fantastic writer, and was also writing for the Stan Kenton Orchestra while at North Texas.

Mark’s dad was a jazz DJ, and when he died Mark donated his dad’s record collection to our jazz museum. It is our largest donation consisting of over 2,200 records and other jazz memorabilia. His dad had been good friends with Stan Kenton and had every Stan Kenton album ever made.  It was a great start for our museum to acquire these items and I will always appreciate his friendship.

We recorded this composition on Lab ’76.  Lab ’76 was nominated for a Grammy, only the second time a college band had been nominated.  Lab ’75 was the first Grammy nomination for a college band.

The alto sax solo is by Dan Higgins, who is the top woodwind player in Los Angeles today, and has been in that spot for many years.

This was my first tune of my first concert with the One O’Clock Lab Band.  It was around October 8th in the lab band hall.  There must have been 200 people there–it was standing room only and they lined the walls to hear the new version of the One O’Clock Lab Band.  We had 15 out of 20 new members that year, so it was not just my first concert with the band.  My parents and Susan were there, sitting on the 5th row, or so.  The band roared out of the gate with this first tune.  I’ll never forget the feeling that day.  It finally felt like I had found my path in life, and there was no other place I wanted to be.

Leon Breeden had a way of challenging you.  First of all, we had probably only played through this tune a time, or two, in rehearsal.  I do remember rehearsing it at a band member’s house on the weekend, as well as extra rehearsals called by the band members after hours.  These guys wanted to sound good, so extra rehearsals on our own time was fine with everyone.  I liked the attitude.  We all had a lot of pride in our work.  Anyway, Mr.Breeden had a whole set of tunes we hadn’t played very much.  He wanted everyone to be pushed, and in public, too.  It made you a better musician to be pushed to your limit in public.  He even had us sightread on concerts without telling the audience we were sight reading!  They never knew we were hoping not to fall apart, and we never did.

Another thing he would do was to kick off tunes faster than we ever rehearsed them in practice.  Listen to the tempo on this tune and the sax section soli.  Even I was impressed they kept it together.  That’s my friend, Roger Dismore on the lead alto, holding it together.

This band was exciting and it had power.  Chuck Schmidt was on lead trumpet, and was as powerful as anyone who ever played that chair.  He went on the play lead with Buddy Rich for over a year in 1977-78.  Most of the rhythm section went out with Woody Herman the next year, and in-between semesters two of the trumpets in the section were replaced, or quit.  I think they were replaced!

There was a lot of pressure to make and stay in the band.  There were over 150 trumpet players who tried out, for example, and they all wanted to move up if you could not handle the situation.  Everyday you were on trial, but that’s just the way it is in the real world, so it prepared us.

By the way, the picture in the video is from that concert.  Ron Fink was on the faculty at North Texas and at the concert that day and sent it to me a couple of years ago.  Also, my friend, Roger, recorded the concert with his open reel tape deck.  Thanks to Roger for thinking of that!  Pete Brewer is on the tenor sax solo, Pat Coil (who has just been hired to teach at UNT) on piano solo, and I don’t know who was playing the trombone solo.  It could have been any one of three of the tenor trombone players.

This was a tune arranged by our percussionist, Gene Glover, called “St.Thomas”.  It was a fun piece to play, and really shows the power of our lead trumpet player, Chuck Schmidt.  This tune was played in May of 1976 during a KERA TV taping.

Another tune from our KERA TV show in May of 1976.  Many of the students in this band went on to become the top players and teachers in the world today.  However, the trumpet player on the end closest to the camera is now a medical doctor in Tyler, Tx.  After getting his Master’s degree in trumpet performance, he decided to go to medical school in his mid-thirties.  He was even my doctor for a couple of years before he moved to Tyler!

In May of 1975, I heard a rough mix of Lab ’75 over at Roger’s house (one of my best friends who was lead alto in the One) and decided I wanted to go to North Texas and play that new sounding music from the One.  This video is from a KERA TV show we taped in May of 1976 playing the main tune that sent me to North Texas 40 years ago this month. Lyle Mays had written all the music for Lab ’75, and I loved all of it.

I had been working at Six Flags with many of the current and past One O’Clock members, and a few really encouraged me to come to school there.  The time seemed right—there were 4 trumpet openings in the band the next fall, and I had not been able to get a band directing job.  Since my graduationfrom TCU in 1974, I had taken a year of business courses, but it felt all wrong to me.  Nothing was working, and I was at a crossroad in my life.

I decided to put everything on the line and try out for the One, telling myself that if I didn’t make it into one of the top three bands, I would quit trying to be a player.  As it turned out, I had the choice to play lead trumpet in the Two, or second in the One.  I took the One to be with the better players, and had the most fun I’ve ever had.

I honestly went there to play in that band and for Leon Breeden.  Getting my Master’s degree in Music Education was secondary.  Learning from Mr. Breeden and the other exceptional players in that band was worth more than any degree I could have earned.  The band made you a better musician because of all the great players in the band, who were all giving it 100% every day.  There was an atmosphere of learning that was unique, and we all put pressure on ourselves to be the best we could be.  It was contagious.

This was recorded outside on a KERA parking lot in Dallas one night in May of 1976.  The band would be leaving for a five week tour off Russia the next month, but I decided not to go.  I had already been to Europe twice with musical groups, and I had no desire to go out of the country for that long.  The best compliment I ever received while being a member of that band was when I met the band at the airport when they arrived back from that very long, hard tour of Russia.  One of the trombone players greeted me saying, “You’re the smartest guy in this band”.  The conditions in Russia were probably worse than I had imagined, but what a nice compliment.  I’ve never regretted not going. The lead trumpet player in the Two took my place, and I was able to not miss any work from Six Flags that summer.  It all worked out well for everyone.