{"id":1163,"date":"2007-12-08T23:48:39","date_gmt":"2007-12-09T07:48:39","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1163"},"modified":"2007-12-08T23:48:39","modified_gmt":"2007-12-09T07:48:39","slug":"weekend_extra_jack_sheldon","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/12\/weekend_extra_jack_sheldon\/","title":{"rendered":"Weekend Extra: Jack Sheldon"},"content":{"rendered":"

Glenn Mitchell’s account<\/a> of the 90th birthday party for Howard Rumsey a month or so ago at Catalina’s in Los Angeles included this about Jack Sheldon’s appearance with his sextet:<\/p>\n

They played a favorite of Rumsey’s, a tune that bassist Jimmy Blanton (his all-time favorite) was remembered in, “Do Nothing ‘Til You Hear From Me.” They continued with “Jumping At The Woodside” (same changes as “I’ve Got Rhythm”) and “I Can’t Get Started,” which Sheldon sang very well. Sheldon is not only a great horn player and vocalist but a comedian as well. He roasted Rumsey for a number of minutes, telling stories from the past and kidding him with, “This is your party, Howard, wake up, ” having fun with him about being 80 and surprised with 90 being actually realized. He acknowledged two great qualities of Rumsey — his kindness and generosity.<\/p><\/blockquote>\n

That triggered a vision from the past. In 1954, I drove from Seattle to Southern California on spring break from college. On a Sunday afternoon in Hermosa Beach I visited the Lighthouse, where Rumsey headed the famous band of all-stars named after the club. Between sets, he and I struck up a conversation. Rumsey said, “Be sure to stick around. A kid from the neighborhood is going to sit in. I think you’ll like him.” The kid was Jack Sheldon. I liked him. Ever since, I have wondered that a trumpet player so accomplished, so admired and respected by other musicians, has never got his due from critics or the jazz audience at large. Maybe it’s because of his comedy, which can be beyond raunchy. Maybe it’s because he sings. Maybe it’s because he has an acting career on the side. But make no mistake, for half a century Sheldon has been a formidable trumpet player.
\n\"Sheldon.jpg\"
\nJack Sheldon<\/strong>
\nHere is a rare video example <\/a>of his singing and playing. It was at a club in New Orleans. The rhythm section is Dave Frishberg, piano; Dave Stone, bass; Frankie Capp, drums; and John Pisano, guitar.
\nGoogling, I found a promo<\/a> for a documentary about Sheldon. I’ve turned up no information about when it will materialize.
\nSheldon is the trumpeter who breaks your heart with the beauty of his playing in the main title and recurring “Shadow of Your Smile” theme of the motion picture The Sandpiper<\/em>, a film whose only distinction is Johnny Mandel’s music. To hear some of it, including Sheldon’s solos, click here<\/a>.
\nJack Sheldon turned seventy-six a few days ago and seems to be flourishing. Hooray.<\/p>\n","protected":false},"excerpt":{"rendered":"

Glenn Mitchell’s account of the 90th birthday party for Howard Rumsey a month or so ago at Catalina’s in Los Angeles included this about Jack Sheldon’s appearance with his sextet: They played a favorite of Rumsey’s, a tune that bassist Jimmy Blanton (his all-time favorite) was remembered in, “Do Nothing ‘Til You Hear From Me.” […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1163","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1163","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1163"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1163\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1163"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1163"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1163"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}