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Must have recordings, etc?
I'm listening to some old Phil Woods, and I'm impressed by Salvador's playing. It's a name I've heard/read over the years, but never really followed up on. What are some good records of his either as leader or sideman?
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08-14-2021 04:06 AM
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I have this one on vinyl which is pretty good (Kenton presents Sal Salvador):
Last edited by grahambop; 08-14-2021 at 05:18 AM.
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Looks like the recording you posted was actually a Sal Salvador record (I wondered why Phil Woods didn't take the first solo!):
SHADES OF SAL SALVADOR
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Originally Posted by grahambop
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I have a few of his LPs, and if you can find it, I recommend "Juicy Lucy," worth it if only for his version of "Opus de Funk." Also features a stellar group, Billy Taylor, Art Davis and Joe Morello.
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My favorite Salvador album is Frivolous Sal, with Eddie Costa (p, vib), George Roumanias (b), Jimmy Campbell (d).
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Anyone hear study with Sal?
The guys I knew in Brooklyn in the 60's talked about going to Manhattan to study with Sal.
That was remarkable, because we had Sid Margolis, Jack Wilkins and Carl Barry in the neighborhood music school, although Jack and Carl were young guys then.
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Originally Posted by grahambop
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Thanks to all for the suggestions in the thread. I'm following up on them
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Gretsch player, nice sound.
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Originally Posted by rpjazzguitar
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Originally Posted by grahambop
SS also had a big band that put out a few records.
He's featured on the Stan Kenton piece, "Invention for Trumpet and Guitar", which also featured a very young Maynard Ferguson.
A great guitarist friend of mine, Bob Grillo, edited Sal's excellent Single String Guitar Studies book.
SS was Elliot Randall's guitar teacher back in the 60s, and ER gives SS credit for making great strides in his development as a guitarist and musician.
SS was featured in the well-known documentary "Jazz On a Summer's Day" about the Newport Jazz Festival, which features him playing a long blues solo (uptempo) while they show the seaport scenes.
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Originally Posted by sgcim
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Originally Posted by wintermoon
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Originally Posted by sgcim
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I prefer his big band and quartet with brass recordings. He really shines in these recordings. I like his small group stuff but these three albums really give him some compartmentalization for his solos which is where I think he performs better. The quartet with brass is a great sound I would guess he probably picked up from his work with Kenton.
1958 Colors in Sound Decca Quartet with Brass 1959 The Beat For This Generation Decca Big Band 1963 You Ain't Heard Nothin' Yet! Dauntless Big Band
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Also studied with Sal for 4 years at UB in Bridgeport CT.
Most concerts at UB were with Allen Hanlon.
Great guy and party guy.....
Hung out with the college players a bit.
Snuck in with Sal and a couple of other students to see Linc Chamberlin one night ...not to be seen by Linc or his students.
A bit of a rivalry back then.
Also Sal said he changed his name to Sal Salvador........
Lots of technical books if you were studying with him...lots of them
Check out "Invention" I think with Kenton.
Sal at his best.....
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The story I've heard goes that when Sal arrived in New York he was broke and Johnny Smith put him up in a hotel for a month, then Tal Farlow found him a room in the building he was living in. Jimmy Raney lived there too and the three would jam extensively. Sal's father apparently owned a grocery store and sent care packages that would feed the three of them. Even in the so-called golden age of live jazz in New York, times were tough.
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Ha. great story!
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Originally Posted by Cunamara
He said that John Collins, Chuck Wayne and Johnny Smith used to come over and jam with Raney and Farlow.
He asked them if he could sit in, but they said, "You're not ready".
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Originally Posted by jazzimprov
What did Sal think of Linc?
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08-17-2021, 10:21 PM #22joelf GuestOriginally Posted by sgcim
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08-17-2021, 10:39 PM #23joelf Guest
I hate to be the wet blanket here. I know a lot of people studied w/him in CT. I feel this way after hearing him on these tracks and Jazz on a Summer's Day:
Competent; nice sound; knew the vocab; got the job done----but pretty ordinary and even undistinguished as a soloist. His swing feel was OK but kind of square and near corny, and he was pretty bland and uninteresting note choice-wise, especially compared to the players mentioned on this thread. Just too symmetrical and predictable and he never went anywhere that perked my ears up.
Which is not to be disrespectful to the OP or Salvador or say the man was a poor musician---not even close to that. He was a pro and I respect that. But the other players mentioned here (as soloists) were in a different class---and so were Joe Puma and Dick Garcia, 2 other white players (meaning they played with mostly white bands, not by choice but by social and hierarchal circumstances) from that period...
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Originally Posted by sgcim
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Originally Posted by joelf
Now I saw Linc Chamberlain play at a small club in Port Chester and he was an early influence on me. Those were some out jams.
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