Joe Rigby: Difference between revisions
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Joe RIgby was born on September 3, 1940 in Harlem<ref>[http://www.paristransatlantic.com/magazine/monthly2006/09sep_text.html From The Chantels To Milford Graves: The music of Joe Rigby], ''Paris Transatlantic'', 6 September 2006 </ref>(2). He was described by David keenan as "one of the most criminally undersung saxophonists to come out of the free jazz explosion of the late 1960's" (3). His principal voice is the tenor saxophone on which he has the most powerful emotive sound imaginable. He also plays alto, baritone, soprano and the rare sopranino saxophone, as well as flute and piccolo |
Joe RIgby was born on September 3, 1940 in Harlem<ref>[http://www.paristransatlantic.com/magazine/monthly2006/09sep_text.html From The Chantels To Milford Graves: The music of Joe Rigby], ''Paris Transatlantic'', 6 September 2006 </ref>(2). He was described by David keenan as "one of the most criminally undersung saxophonists to come out of the free jazz explosion of the late 1960's" (3). His principal voice is the tenor saxophone on which he has the most powerful emotive sound imaginable. He also plays alto, baritone, soprano and the rare sopranino saxophone, as well as flute and piccolo |
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== Joe Rigby, great jazz musician flying under the radar == |
== Joe Rigby, great jazz musician flying under the radar == |
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| NAME = Rigby, Joe |
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Revision as of 03:57, 24 January 2015
Joe RIgby was born on September 3, 1940 in Harlem[1](2). He was described by David keenan as "one of the most criminally undersung saxophonists to come out of the free jazz explosion of the late 1960's" (3). His principal voice is the tenor saxophone on which he has the most powerful emotive sound imaginable. He also plays alto, baritone, soprano and the rare sopranino saxophone, as well as flute and piccolo
One iconic figure, closely linked with Rigby's history is percussionist Milford Graves. It was Rigby who first intoduced his friend to the sounds of John Coltrane and Elvin Jones, and playing alongside Arthur Doyle, Hugh Glover and Arthur Williams in Graves' ensemble, provided a continuous soundtrack to the black nationalist movement in Brooklyn and Harlem. In later years, Graves appearances became less frequent and they last played together at Banlieues Bleues in Paris in 2006. Another long-running partner was the drummer Steve Reid with whom Rigby co-led the Master Brotherhood in the 1970's. Rigby played on Reid's final gigs in New York in February 2009. A cd and dvd await release.
Briefly leading his own group Dynasty in the late 70's (4), Stanley Crouch wrote that "Rigby played solos that swung, startled, and built with an ordered and swelling passion that let you know he is an important voice in any direction, inventing with an ecstatic mastery" (5). Unfortunately, musical opportunities began to dry up as the loft era faded, and Rigby took a gig with bluesman Johnny Copeland for a few years, before supporting his growing family of four sons with various jobs, including that of music teacher, although he never stopped playing through these difficult times. In 2004 he retire from school to devote himself once more full-time to music.
A few records emerged, the first under his own name on the Homeboy music label. One was a quartet with trumpeter Ted Daniel, another a solo recording made in Scotland (6). It was there Rigby also recorded the extra-ordinary 'For Harriet' with young bagpiper5 Calum MacCrimmon in 2009, which appeared on the french Improvising Beings label. Of this, Keenan wrote "Rigby played with an astoundingly powerful tone, perfectly balancing bold melodic statements with some wildly outside scorch, threading screaming feedback tones into the polyphonic drone. An inspiring document of one of the great unknown voices of modern free jazz" (3). 'For Harriet' was slected as one of the "records of the year" in Village Voice.
References
- ^ From The Chantels To Milford Graves: The music of Joe Rigby, Paris Transatlantic, 6 September 2006
- (2)Cadence, February 2007, volume 33 #2
- (3)www.volcanictongue.com
- (4)The New York Times, March 2 & 3, 1978
- (5)Soho Weekly News, May 25, 1978
- (6)www.homeboy-music.co.uk