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The Los Angeles Free Music Society (LAFMS) is a loose underground collective of experimental avant-rock artist-musicians formed in 1973. Described as a "lightning rod for art-damage, weird-music lovers everywhere," LAFMS was formed by Chip Chapman, Joe Potts, Rick Potts and Tom Recchion.
Here's a list of 18 holiday toy drives by local organizations in Los Angeles and Orange counties this year. ... Admission is free with a new and unwrapped toy, which will be given to community ...
Davis was born in Independence, Kansas in 1916. In 1937, he moved to Los Angeles, California, playing saxophone in the Fletcher Henderson orchestra. After some years playing swing and jazz, he became more involved in the West Coast R&B scene in the mid-1940s, becoming a regular session musician and arranger for the fast-growing independent record labels such as Aladdin. [2]
Louis Eugene Marini Jr. (born May 13, 1945), known as "Blue Lou" Marini, is an American saxophonist, arranger, and composer. He is best known for his work in jazz , rock , blues , and soul music , as well as his association with The Blues Brothers .
Following the lead of their colleagues in France, who created the Association of French Saxophonists in 1971, the North American Saxophone Alliance was established in 1976 under the leadership of Frederick Hemke. Since this time, NASA has offered state, regional, and international conferences attracting many important saxophonists to present ...
Joe Henderson, David S. Ware, Joe Lovano, Branford Marsalis, and Joshua Redman led pianoless sax trios. [17] While in Los Angeles in 1957, Rollins met alto saxophonist Ornette Coleman and the two of them practiced together. [19] Coleman, a pioneer of free jazz, stopped using a pianist in his own band
A notable part of the band's sound was the "Seawind Horns" (Williams with trumpeter Jerry Hey, and sax and flute player Kim Hutchcroft). Seawind caught the attention of drummer-producer Harvey Mason. He encouraged the group to move to Los Angeles where they quickly established a regular gig at the club The Baked Potato. [2]
A major selling point for the C melody saxophone was the fact that in contrast to other saxophones, it was not a transposing instrument.As a result, the player could read regular printed music (e.g. for flute, oboe, violin, piano, guitar or voice) without having to transpose or read music parts that have been transposed into B ♭ or E ♭, which most other saxophones would require.