{"id":6179,"date":"2014-11-07T23:03:39","date_gmt":"2014-11-08T07:03:39","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6179"},"modified":"2014-11-08T09:40:55","modified_gmt":"2014-11-08T17:40:55","slug":"weekend-extra-shelly-manne-and-friends","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/11\/weekend-extra-shelly-manne-and-friends\/","title":{"rendered":"Weekend Extra: Shelly Manne And Friends"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;YvpaP6tOwudsHlyiCFvVv9mKQw6UKTX9&#8243;]<\/p>\n<p>From 1960 to 1972 in Hollywood, drummer Shelly Manne operated Shelly\u00e2\u20ac\u2122s Manne Hole, one of the great jazz clubs in the world. It was headquarters for his quintet known as Shelly <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/11\/Shellys-Manne-Hole.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/11\/Shellys-Manne-Hole.jpg\" alt=\"Shelly&#039;s Manne Hole\" width=\"220\" height=\"99\" class=\"alignleft size-full wp-image-6180\" \/><\/a>Manne And His Men, which over the years included many of the era\u00e2\u20ac\u2122s premier players, among them Charlie Mariano, Bill Holman, Richie Kamuca, Conte Candoli, Joe Gordon, Stu Williamson, Leroy Vinnegar, Russ Freeman, Victor Feldman and Monty Budwig. <\/p>\n<p>Now and then, though, Manne brought in a few friends for short-term appearances at the club. One night in 1970, his all-star quartet <em>du jour<\/em> consisted of Manne, tenor saxophonist Bob Cooper, pianist Hampton Hawes and bassist Ray Brown. They played a blues in what seems to be A-flat (although I\u00e2\u20ac\u2122m not sure I trust the pitch of the film sound track), and followed with \u00e2\u20ac\u0153Stella By Starlight.\u00e2\u20ac\u009d Then came \u00e2\u20ac\u009dMilestones,\u00e2\u20ac\u009d which Manne kicked off at a tempo about as fast as it\u00e2\u20ac\u2122s possible for musicians to play coherently. Brown gives Manne a grin that seems to say, \u00e2\u20ac\u0153You devil,\u00e2\u20ac\u009d but the four manage without difficulty. <\/p>\n<p><div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"\/\/www.youtube.com\/embed\/Ek-keUWkyqk?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>Shelly was forced to close the Manne Hole because the music was causing problems for Wally Heider\u00e2\u20ac\u2122s recording studio next door. He reopened for a time in L.A.\u00e2\u20ac\u2122s Wilshire section, but the club lasted less than a year at the new location. Manne thrived until shortly before his death in 1984, always in demand, one of the most admired drummers and bandleaders in the history of the music.<\/p>\n<p>Have a good weekend.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;YvpaP6tOwudsHlyiCFvVv9mKQw6UKTX9&#8243;] From 1960 to 1972 in Hollywood, drummer Shelly Manne operated Shelly\u00e2\u20ac\u2122s Manne Hole, one of the great jazz clubs in the world. It was headquarters for his quintet known as Shelly Manne And His Men, which over the years included many of the era\u00e2\u20ac\u2122s premier players, among them Charlie Mariano, Bill Holman, Richie [&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-6179","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\/6179","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=6179"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6179\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6179"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}