{"id":249,"date":"2005-11-23T01:05:00","date_gmt":"2005-11-23T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=249"},"modified":"2005-11-23T01:05:00","modified_gmt":"2005-11-23T09:05:00","slug":"bob_enevoldsen","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2005\/11\/bob_enevoldsen\/","title":{"rendered":"Bob Enevoldsen"},"content":{"rendered":"

One of the joys of listening to The Bill Holman Band the past decade or so has been the opening minute of \u00e2\u20ac\u0153No Joy In Mudville.\u00e2\u20ac\u009d Over an insistent one-bar riff figure repeated by the saxophones, Bob Enevoldsen plays a valve trombone solo of pure exuberance. It is the first track in Holman\u00e2\u20ac\u2122s CD A View From The Side<\/em><\/a>. It was, almost invariably, the first piece he called when the band performed. I write \u00e2\u20ac\u0153was\u00e2\u20ac\u009d because the bad news is that Enevoldsen died last Saturday. In a palpable sense, he was central to the spirit of that great band, as he was to jazz on the west coast for more than half a century.
\nIn Leonard Feather\u00e2\u20ac\u2122s and Ira Gitler\u00e2\u20ac\u2122s Biographical Encylopedia of Jazz<\/em><\/a>, his entry begins,<\/p>\n

ENEVOLDSEN, BOB (ROBERT MARTIN)<\/strong>, v-tbn., tbn, bs, bari horn, tr sax, etc. b Billings, MT, 9\/11\/20<\/p><\/blockquote>\n

That \u00e2\u20ac\u0153etc.\u00e2\u20ac\u009d covers arranging. Enevoldsen was a superb arranger and ochestrator and, when the occasion arose, an effective and congenial leader. He was best known for his valve trombone and in greatest demand on that horn, but he was also a tenor saxophonist with original ideas and a fetching graininess in his tone. He shines on both horns in his own group and with Harry Babasin\u00e2\u20ac\u2122s quintet in Jazz In Hollywood<\/a><\/em>, a CD reissue of 1954 recordings from the Nocturne label. In the fifties when his trombone chops went temporarily into decline, Enevoldsen switched to bass and continued to make a living. There\u00e2\u20ac\u2122s a bit of his bass playing on the Babasin recordings.
\nMuch of his income came from work in Los Angeles television and movie studios, which offered economic survival for many top-flight jazz artists. But his heart was in jazz, and he left a fifty-year trail of memorable performances and recordings with Holman, Gerry Mulligan, Shelly Manne, Shorty Rogers, Bob Florence, Bob Crosby, Tex Beneke, Mel Torm\u00c3\u00a9, the Lighthouse All-Stars, Henry Mancini and Terry Gibbs, to name a few in the wide range of musicians who insisted on his services.
\nA burly man, after he worked up a crop of facial hair and took on some age he came to resemble St. Nicholas with a neatly trimmed beard. Enevoldsen was hampered the past several years by the circulation problems that led to his death, but he kept working. His daughter drove him to rehearsals and gigs and helped him onto the bandstand. Bill Holman told me yesterday that Enevoldsen\u00e2\u20ac\u2122s physical problems disappeared once the band started playing. \u00e2\u20ac\u0153When it was time for him to solo,\u00e2\u20ac\u009d Holman said, \u00e2\u20ac\u0153the years fell away.\u00e2\u20ac\u009d
\nBob Enevoldsen: never a star, never a household name, always a pleasure to hear; gone at eighty-five.<\/p>\n","protected":false},"excerpt":{"rendered":"

One of the joys of listening to The Bill Holman Band the past decade or so has been the opening minute of \u00e2\u20ac\u0153No Joy In Mudville.\u00e2\u20ac\u009d Over an insistent one-bar riff figure repeated by the saxophones, Bob Enevoldsen plays a valve trombone solo of pure exuberance. It is the first track in Holman\u00e2\u20ac\u2122s CD A […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","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-249","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\/249","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=249"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/249\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}