{"id":6368,"date":"2015-01-27T00:15:00","date_gmt":"2015-01-27T08:15:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6368"},"modified":"2015-01-28T23:18:13","modified_gmt":"2015-01-29T07:18:13","slug":"nick-travis","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/01\/nick-travis\/","title":{"rendered":"Nick Travis"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;QlHzorJ2maoVQtwfOO61ZbcV2mTXfZNy&#8221;]<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Nick-Travis.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-6369\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Nick-Travis.jpg\" alt=\"Nick Travis\" width=\"119\" height=\"200\" \/><\/a>Nick Travis (1925-1964) played trumpet in a variety of big bands including those of Woody Herman, Ray McKinley, Benny Goodman, Gene Krupa, Ina Ray Hutton and Jerry Wald; all of those in the 1940s. The list got longer in the \u00e2\u20ac\u02dc50s, when he worked with Herman again, and with Jerry Gray, Bob Chester, Elliott Lawrence, Jimmy Dorsey, the Sauter-Finegan Orchestra and Maynard Ferguson\u00e2\u20ac\u2122s Birdland Dream Band. Travis was active in New York studios in the late \u00e2\u20ac\u02dc50s and early \u00e2\u20ac\u02dc60s and was a prominent member of Gerry Mulligan\u00e2\u20ac\u2122s Concert Jazz Band. In demand as a lead player, he was also a more than capable soloist in small groups led by Zoot Sims, Al Cohn and others. He had <a href=\"http:\/\/www.amazon.com\/Panic-Nick-Travis-Quintet\/dp\/B007H5238I\/?_encoding=UTF8&amp;camp=1789&amp;creative=9325&amp;keywords=Nick%20Travis%20Quintet&amp;linkCode=ur2&amp;qid=1422342070&amp;s=dmusic&amp;sr=1-1&amp;tag=rifftidougram-20\" target=\"_blank\">his own quintet album<\/a> on RCA.<\/p>\n<p>A recent discussion among jazz researchers turned up a rare kinescope recording of Travis performing with former Duke Ellington cornetist Rex Stewart in 1958 on one of the <em>Art Ford&#8217;s Jazz Party<\/em> broadcasts. Their version of \u00e2\u20ac\u0153There Will Never Be Another You\u00e2\u20ac\u009d may well have been arranged on the spot.<\/p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/mzsJUbKwIN8?rel=0\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p>The bassist was Vinnie Burke, frequently featured on the Ford program. <em>YouTube<\/em> identifies the drummer as Barry Miles and the pianist as Ray Bryant. The pianist, however, is someone else. Bryant is seen wandering toward the piano in the closing seconds of the film. If you know who the pianist is, please send a comment.<\/p>\n<p><span style=\"font-size: small;\"><strong>(Footnote 1\/28\/15. Jan Lundgren suggests in his comment below that the pianist may be Eddie Costa [1930-1962]. Costa fits the time frame and general appearance, but since there is no piano solo, it&#8217;s difficult to base a conclusion on playing style.)<\/strong><\/span><\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Screen-Shot-2015-01-28-at-3.59.56-PM.png\"><img loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-6373 alignleft\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Pianist-on-Travis-video.jpg\" alt=\"Pianist on Travis video\" width=\"147\" height=\"131\" \/><img loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-6374 aligncenter\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Screen-Shot-2015-01-28-at-3.59.56-PM.png\" alt=\"Screen Shot 2015-01-28 at 3.59.56 PM\" width=\"145\" height=\"145\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Screen-Shot-2015-01-28-at-3.59.56-PM.png 145w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/01\/Screen-Shot-2015-01-28-at-3.59.56-PM-100x100.png 100w\" sizes=\"auto, (max-width: 145px) 100vw, 145px\" \/><\/a>Pianist on the video &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 Eddie Costa<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;QlHzorJ2maoVQtwfOO61ZbcV2mTXfZNy&#8221;] Nick Travis (1925-1964) played trumpet in a variety of big bands including those of Woody Herman, Ray McKinley, Benny Goodman, Gene Krupa, Ina Ray Hutton and Jerry Wald; all of those in the 1940s. The list got longer in the \u00e2\u20ac\u02dc50s, when he worked with Herman again, and with Jerry Gray, Bob Chester, [&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-6368","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\/6368","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=6368"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6368\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}