{"id":5746,"date":"2014-05-22T23:39:52","date_gmt":"2014-05-23T06:39:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5746"},"modified":"2014-05-22T23:47:27","modified_gmt":"2014-05-23T06:47:27","slug":"remember-gregory-herbert","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/05\/remember-gregory-herbert\/","title":{"rendered":"Remember Gregory Herbert?"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;lyZMy06LLnBWMNnPKUOLJ9IufBnDOSPn&#8221;]<\/p>\n<p>Gregory Herbert, one of the most talented saxophonists of his generation, was born in Philadelphia 67 years ago this month. After a brief engagement with Duke Ellington when he was 17, Herbert spent four <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Gregory-Herbert.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/05\/Gregory-Herbert.jpg\" alt=\"Gregory Herbert\" width=\"220\" height=\"190\" class=\"alignleft size-full wp-image-5747\" \/><\/a>years as a music major at Temple University in his hometown, concentrating on alto saxophone, clarinet and flute. In 1971 he joined Woody Herman\u00e2\u20ac\u2122s Herd, that perpetual incubator of young talent, and began to specialize as a tenor saxophonist. Based on his work with Herman, conventional wisdom in the jazz community was that Herbert had the potential for a long, influential career. This piece from a 1974 concert in Zurich, Switzerland, presents some of the evidence. Richard Evans\u00e2\u20ac\u2122 arrangement of The Temptations hit \u00e2\u20ac\u0153I Can\u00e2\u20ac\u2122t Get Next To You\u00e2\u20ac\u009d begins with Herbert and fellow tenor men Gary Anderson (on the left) and Frank Tiberi, then devolves to Herbert as the featured soloist.<\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/Knq3sdT_mE4?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>After he left Herman, Herbert worked with the Thad Jones-Mel Lewis Orchestra, Chuck Israels\u00e2\u20ac\u2122 National Jazz Ensemble and Blood, Sweat &#038; Tears. He made memorable recordings with Jones-Lewis and Israels and with Harold Danko and Chet Baker. When he died in Amsterdam of a drug overdose in 1978, he was 30 years old. <\/p>\n<p><a href=\"http:\/\/www.amazon.com\/Herd-at-Montreux-Woody-Herman\/dp\/B000009NWK\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\">This Herman album<\/a> features Herbert on \u00e2\u20ac\u0153I Can\u00e2\u20ac\u2122t Get Next To You\u00e2\u20ac\u009d and other pieces including his passionate solo on \u00e2\u20ac\u0153Tantum Ergo,\u00e2\u20ac\u009d Alan Broadbent\u00e2\u20ac\u2122s memorial tribute to Duke Ellington.   <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;lyZMy06LLnBWMNnPKUOLJ9IufBnDOSPn&#8221;] Gregory Herbert, one of the most talented saxophonists of his generation, was born in Philadelphia 67 years ago this month. After a brief engagement with Duke Ellington when he was 17, Herbert spent four years as a music major at Temple University in his hometown, concentrating on alto saxophone, clarinet and flute. In [&hellip;]<\/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-5746","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5746","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=5746"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5746\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5746"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5746"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}