The Bob Florence Story

This feature is in celebration of the CD 'ETERNAL LICKS AND GROOVES' by the BOB FLORENCE LIMITED EDITION .

Bob's older music is still astonishingly popular with rehearsal bands all over the world and no doubt he could have settled for that and carried on writing the type of music that was always technically demanding and yet still had that audience appeal. There was always a warmth and a joy in his writing, listeners and musicians alike were comfortable with the prospect of more of the same, more or less.

Rather like his friend Bill Holman he decided to seek a different direction while still keeping those essential ingredients and never losing sight of the fact that he had to maintain his interest while still exciting and stimulating the audience and the musician.

Several thoughts to savour, which may just give you some indication of what to expect. Bob Florence's piano playing on these recordings can be described as influenced by Bill Evans and the San Andreas fault!

I cannot recall a more remarkable transmogrification from gorgeous lyricism to fierce undertow, on any big band albums. As far as his writing is concerned surely Bob's ancestry can be traced back to Thor!

Band directors all over are going to be buying the music that is now starting to appear in arrangement catalogues and wondering why they cannot get the same effect!

The reason why only the LIMITED EDITION can produce these defining performances is quite straight forward and relates to why the band is called the LIMITED EDITION. This is a once in a lifetime assembly of musicians of extraordinary ability , who can compliment the composing, arranging and playing talent of Bob Florence.

 

 

The BOB FLORENCE LIMITED EDITION is one of the most dynamic of the contemporary big bands. It's leader's consummate writing and arranging skills have made his arrangements a must for the libraries of hundreds of big bands around the world.

What follows are excerpts from an article written by me in JAZZ JOURNAL INTERNATIONAL the premier jazz magazine in the United Kingdom and one of the most popular and informative magazines in the jazz-loving world. I have brought the feature up to date.

JAZZ JOURNAL INTERNATIONAL can be contacted :Telephone - 0171 608 1348: Fax - 0171 608 1292.

' I was borne in Los Angeles in 1932. My mother was the musical one of the family, she played music for the silent movies back in Philadelphia. My father was not a musician but enjoyed listening.

My parents discovered when I was very young that I was fascinated by music. Two months before I was four I had my first piano lesson with a local teacher. It was discovered quite quickly that I had perfect pitch: my party piece used to involve guests hitting a note on a glass and me naming it.

I studied classical piano, and in fact gave my first recital when I was seven years old.

I seemed to be headed towards a career as a concert pianist until I went to college. I had an extensive classical repertoire and all through night school I was giving concerts. I also had a liking for popular music. My mother had a large collection of sheet music and I was able to play all of that by ear, not in any jazz sense, but harmonising.

During high school and junior high I would give shows and accompany others. I particularly enjoyed playing for singers. If they went off in the wrong key I would follow and more or less keep everybody in line!

I went to L.A. City College, and when I needed a couple of units in study I took an arranging course with Bob McDonald. I developed a strong liking for writing. Bob was jazz orientated. He had come up with the big bands like Miller and Berigan and had a strong knowledge of jazz history and what made big bands and orchestras go. I was fascinated, and when I was around 19 my career just took a hard left and it seemed that the classical piano and the classical training disappeared. Since I enjoyed jazz, jazz piano players and jazz soloists, it was natural for me to head off in that direction.

I was in the college band at L.A. City College when someone suggested that we write a couple of things, get some musicians together, meet down at the Musician's Union, play them over and see what happened.

This was a wonderful experience. It did not matter whether it was good or bad, it was just great to hear the fruits of our labours. this went on for weeks and weeks. I got very prolific, I kept it going for quite a long time.

This was about 1953 or 1954, I was in my early twenties. I found this was a great way to learn to write: the trial and error method.....getting my friends to say this was great, this didn't work and so on.

Incidentally, Lanny Morgan was in that band. At the school around that time were Herb Geller, Jack Sheldon, Bob Hardaway, John Williams and two of the greatest studio guitar players, Dennis Budimir and Tommy Tedesco.

I kept this rehearsal band going during the fifties. In 1955 I worked with Alvino Rey at Lake Tahoe, this was probably my first 'out of town' job with anybody of any consequence.

In 1956 I worked with Les Brown for three weeks, my first experience of one nighters! I'd start up a rehearsal band periodically and keep writing. Around 1959 people started coming to my rehearsals. Harry James came and asked me to do a couple of charts for his band. I did an original called 'Eyes' and a chart on 'Satin Doll', both of which were on an MGM album recorded in 1959 these are still being played.

Then I met Si Zentner who was putting a band together in L.A. I played a little bit with him and he asked me to write a few things. he did an album on Liberty Records with the Johnny Mann Singers called GREAT BAND, GREAT VOICES, I did all the arrangements.

The record company wanted his band to do a 'hits of the day' album. I remember we did 'African Waltz' which was successful for Cannonball Adderley and John Dankworth.

Bobby Darin had a hit with 'Up A Lazy River', and my thought was, what can I do with that! I remember it was rather a strange conception. I had been in rather an infectious groove the night before on a rock and roll gig. I carried that onto the chart. The music turned out to be a big, big seller for Sy Zentner. I recall that was in 1961.

I was young and as yet unknown. I got paid scale and Hoagy Carmichael made a lot more money! It was great fun and a great experience. I suppose I must have done 11 or 12 albums with Si, some for Liberty and some for RCA. However the arrangement opened doors for me and the 'phone would ring a lot more.

I was able to do some things for Louie Bellson. I think it was on the Verve label. I did some work with Anne Margret and I had now ventured into the 'commercial' field.

I think it was in 1964 I did an album called HERE AND NOW for Liberty Records. I had to put up the money for that. It did quite well and opened more doors for me. At the time it was a form of advertising. I also recorded an album for a now defunct label called CARLTON, that was called NAME BAND and was one of the first stereo records. I had people like Herb Geller, Bob Hardaway, Bob Enovoldsen and Herbie Harper.

I sort of let the band go for a while around then. It was a busy time with TV shows for Andy Williams, Dean Martin, Red Skelton and so on, with no time for writing other than for the shows. I had great company - Billy May, Dave Grusin, Johnny Mandel and Allyn Ferguson. very challenging and again, a lot of fun.

In 1966 I recorded an album called BUD SHANK AND THE SAXOPHONE SECTION, with six saxes. We chose the songs and again it was a great experience, that was on World Pacific. In 1967 I did another called PET PROJECT. Of all the band things I have done it is probably the hardest to find and the least known! It featured all the hits of Petula Clark. I found her to be an extraordinarily good singer, we also did some TV shows. I wasn't limited to doing the music in its original version. I was more or less free to recompose. I just took it all apart and started over again. This is what I do to this day! I had a great time with Bill Perkins, Herb Ellis, Vic Feldman and Ray Brown. (author's note - even today drummer Jack Sperling considers his work with B.F. among his most enjoyable experiences).

I spent a lot of time around 1973 conducting for Vikki Carr. I was supposed to fill in for a week and then it was 1977 or so. this was my full time job. I worked a lot and travelled a lot.

When I did come back to L.A., I didn't have anything particular planned so i decided to start up the band again. This was around 1978, we worked at a club out in malibu called Pasquales. Albert Marx was there, heard us and told me he wanted to record the band. This was CONCERTS BY THE SEA a year or so later we recorded WESTLAKE. Pete Christleib was on the band at the time. he has a record label called BOSCO and he wanted to record the band. We really gave this one a lot of loving care, not that we didn't for the others, but there was a lot of time spent preparing the SOARING album, (deleted now on LP but now available on CD through Seabreeze).

We did another for Albert Marx called Trash Can City. I love to compose almost more than anything else! I approach writing arrangements on other peoples music as composing. I treat their music as I would my own. It gives me a lot of pleasure and a lot of freedom if I think that way. Everytime I do a band record it's a big project. It is difficult to do anything else until I get it out of my system.

My career has not been entirely a jazz career although this is the way most people think of me, particularly in the last few years. I'd hate to be thought of as a total jazz musician, just as I'd hate to be thought of as a total 'commercial' musician. My personal tastes are so wide-ranging that I like to do as much as I can in different ways.

I mentioned some of the past musicians I have been associated with, for example NICH CEROLI. He was probably one of the greatest jazz drummers I know of, particularly in a big band. He was very versatile and fabulous in a small group too. He had that wonderful ability to get inside my head and know exactly what I want to hear. It was a fascinating meeting of minds. When Nick died, I called Peter Donald, we did one rehearsal and did a concert. My wife Evie and I still have a problem driving past Forest Lawn Cemetary, knowing Nick is there. A lovely man, a great musician and sorely missed.

Anyhow Peter is a totally different drummer to Nick, what we call an 'outside' drummer, very unpredictable, very comfortable, but he just doen't do the established fills and lead-ins. I found him to be a perfect choice for me as I really did not want him to be in the position of being compared all the time. Peter filled the bill perfectly. He sparked me in totally different directions'.

Author's note:- Peter Donald is no longer in the band. He developed some sort of rheumatic or arthritic type condition which made playing painful. I understand that there is an improvement but a full return to the fitness he had is unlikely. Steve Houghton took over the chair and was remarkable, unfortunately national and international calls made it necessary for Bob Florence to get in deputies. Gregg Field was one.

Over the last few years I have spotted Gregg's name in association with a number of big bands including George Graham's and Ray Anthony's. I have also seen his work with several West Coast small groups. In my opinion, having started as supremely suitable for the Florence chair, he has developed into one of the finest big band drummers around (that I have seen). I have a high regard for Jeff Hamilton, Steve Houghton and other fine contemporary drummers. I feel I must put Gregg Field up there with them, the finest. His other talents include those of a producer and when you hear the result of his work of the new Bob Florence CD -EARTH- you will perhaps agree.

'As regards my early interests, who I have listened to and so forth. I remember I was fascinated in my high school days by the Stan Kenton Band, its power, bombast and its "attention getting". I enjoyed it, particularly around 1955 with Mel Lewis, Charlie Mariano, Bill Perkins and I think, Sam Noto on the band. Many of the charts were by Bill Holman . His 'Contemporary Concepts' album is still, for me one of the greatest displays of writing I know of. He was probably one of my first real favourites. He has an interesting way of doing 'lines', making it all seem improvised. He's got very adventurous of late, but he's still one of the greatest. I also enjoyed the Jerry Fielding Band, the cream of the crop from L.A. I remember we all went to see the band from college. Not really a jazz band, but the writing was fiendishly difficult. He wasn't a jazz writer, but jazz influenced. I just listened to everything. I enjoy Brookmeyer's work too. He is doing a lot of jazz and symphonic commissions, very unpredictable. We played together in a club, it was a joy, two writer/players chasing each other around the room.....a great experience!

Now we'll get down to one of my real heroes, Duke Ellington. I don't know whether my writing reflects his influence too often. It does occasionally, in some of the ballads I compose.

I did read once that the Duke always saw the person in front of him as he was writing. I think that it is indelibably etched in my mind as I write, whether it is for a soloist, a fourth trumpet part, a vocal background or movie call knowing who was in the orchestra.

I have always used that philosophy of wanting to know who I was writing for. If it was for an out of town singer, I'd think of who I'd like here in town. If I didn't know who the drummer would be, I'd think of Nick Ceroli... not a bad place to start!

My current band is the LIMITED EDITION....This is the easiest part for me to talk about. It is just about as close to me as anything I can think of in music. It is a totally personal thing. It is a group of players that has more or less remained constant for 10 years and has only changed when a dear friend has passed away or has moved to another part of the country.

I call the band the LIMITED EDITION as a reference to the kind of player in the band. For me it is the kind of musician you just don't see too often - hard to find and not produced in great numbers. They are all personal friends and I love every one of them. Regarding the band being a group of session players is only partially true. Some make their living doing that, not every one. Many of them do a lot of playing at night, or on the weekends, in the clubs. Everyone makes a full-time career of music.No-one has a day job.

It is the kind of band that can fulfill any musical demand I can make of them. It is wonderful to be able to write anything and have it played down instantly. Sometimes it feels like they have played it before - many times.. That's extremely rewarding... to get quick results... to hear it as you imagined it. There are a lot of studio players in the band, but there are also people like Steve Huffstetter who is a marvellous soloist, Lanny Morgan, a superb alto player was a regular member until his departure, Bob Cooper would have graced any assembly, we miss him terribly.

One of the baritones is BOB EFFORD, late of the TED HEATH ORCHESTRA from the U.K.

Talking about the style of the band, most of the time I tend to favour music that is joyous. I remember hearing those wonderful outbursts from every band Woody Herman ever had, Basie and Ellington were the same. That feeling of happiness is very infectious in a live performance. I'm always very concerned when I'm writing or rehearsing as to how the audience will react. I am more interested in the live performance reactions than the recorded sounds. I like to think I know the audience will react to that tune, that chorus, that ending. Is the foot going to tap? Are they going to be happy...puzzled! I'll change things if they are not quite right. Most of the time I know what I am doing up front, so changes are usually very small. If you can lift the audiences off their chairs a few times, you've done a good job!

I don't use a guitar, it seems to be difficult here in Los Angeles and everywhere else to get someone who can come on a full time basis and read the parts. It would be extremely demanding. It may be possible but I have not given it that much thought.

I don't use a percussionist although it is something I would like to do. They take up a lot of space in the clubs we play, and sometimes, I suppose he'd be sitting around with not enough to do!

The band is not doing a lot at the moment. with the distances involved and all the driving people have to do it is sometimes a little difficult to get people out in the evening.

It is different in New York where people like Thad Jones/Mel Lewis could play once a week at the Village Vanguard, the distances are different. You can pursuade people to stay in town.

We were at Carmellos in the San Fernando Valley for five years, if the club were still in existance I would love to do a live recording there. All the charts I can publish are available from Walrus Music (and via the author). I know that an awful lot of bands are playing the music. Difficulty doesn't seem to bother anybody. Be-Bop Charlie and Carmellos By The Freeway were the favourites, nowadays people are trying most of the material on the later albums. When I write I am not concerned whether or not the music will be published. I don't hold back on the difficulty. I do it as we want to play and record so that the charts that are out there are the recorded performances.

I love my band, I spend every hour thinking about and writing for it.'

The end........

My respect for the music of Bob Florence is extreme and well known. Not only is he one of the most pleasant and approachable of people but, in my humble opinion he is now one of the most influential composers, arrangers and pianists anywhere. His big band the LIMITED EDITION is unequalled anywhere. I am pretty certain that in another era people would be bracketing him with Ellington as one would naturally include the best, the most influential. Who knows, as the world turns this major contributor to our music may yet get the credit that has been earned many times over already.

If the luxury of having Bob write an arrangement for you appeals, that can be done.

Selected discography

Bob Florence also features as pianist and arranger on Seabreeze CDs by the excellent Phil Norman Tentet.

The MAMA catalogue is now available in its entirety from Summit Music

 

 

Most recent revision November 2006