{"id":2089,"date":"2010-06-18T13:29:34","date_gmt":"2010-06-18T20:29:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=2089"},"modified":"2010-06-18T13:29:34","modified_gmt":"2010-06-18T20:29:34","slug":"other_places_joe_maini","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2010\/06\/other_places_joe_maini\/","title":{"rendered":"Other Places: Joe Maini"},"content":{"rendered":"

Over on JazzWax<\/em>, Marc Myers has performed a public service by posting a fascinating account of the life of the gifted alto saxophonist Joe Maini (1930-1964). The piece addresses not only Maini’s musicianship but also the inaccuracy of lingering reports about how he died. Marc enlists Maini’s daughter in the telling. To read the article, go here<\/a>.
\nBut first, you may want to see and hear Maini play. The clip is from 1963, when it was still possible in some cities to regularly find live jazz on local television. Here is Joe Maini with Shorty Rogers’ quintet, playing tenor rather than alto saxophone. Following a brief musical intro, the host, Frank Evans, speaks, then the band plays one of Shorty’s tunes from his Martian period. The rhythm section is Pete Jolly, piano; Max Bennett, bass; and Mel Lewis, drums.<\/p>\n

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At the end of the JazzWax<\/em> article, you’ll find another video clip of the Rogers-Maini band.
\nIn this clip<\/a>, you’ll hear Maini on alto sax with Jimmy Knepper, trombone; Bill Triglia, piano; Charles Mingus, bass; and Dannie Richmond, drums. It’s from Knepper’s 1957 album New Faces<\/em> on the Debut label.<\/p>\n","protected":false},"excerpt":{"rendered":"

Over on JazzWax, Marc Myers has performed a public service by posting a fascinating account of the life of the gifted alto saxophonist Joe Maini (1930-1964). The piece addresses not only Maini’s musicianship but also the inaccuracy of lingering reports about how he died. Marc enlists Maini’s daughter in the telling. To read the article, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","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-2089","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\/2089","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=2089"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2089\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2089"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2089"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2089"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}