{"id":8254,"date":"2017-03-10T12:11:24","date_gmt":"2017-03-10T20:11:24","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8254"},"modified":"2017-03-10T16:15:48","modified_gmt":"2017-03-11T00:15:48","slug":"weekend-extra-infinity-promenade-twice","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/03\/weekend-extra-infinity-promenade-twice\/","title":{"rendered":"Weekend Extra: Infinity Promenade, Twice"},"content":{"rendered":"<p>Sixty-three years ago\u00e2\u20ac\u201dalmost to the day\u00e2\u20ac\u201dShorty Rogers included \u00e2\u20ac\u0153Infinity Promenade\u00e2\u20ac\u009d in his classic <em><a href=\"http:\/\/amzn.to\/2mQPxKZ\" target=\"_blank\">Short Stops<\/a><\/em> album. Let\u00e2\u20ac\u2122s hear it again. The introductory cymbals magic is by Shelly Manne. Soloists are alto saxophonist Art Pepper, Rogers on trumpet, and pianist Marty Paich. However, what blows minds all this time later is the double trumpet lead near the end by Conrad Gozzo and Maynard Ferguson. I once wrote that together these two created for lead trumpeters a gold standard. It remains in effect&#8221;\u00a0today. In this Ray Avery photo from the following year, we see (L to R) John Best, Gozzo and Ferguson.<br \/>\n<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-8255\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Maynard-Gozzo-Best.jpg\" alt=\"\" width=\"448\" height=\"278\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Maynard-Gozzo-Best.jpg 448w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/03\/Maynard-Gozzo-Best-300x186.jpg 300w\" sizes=\"auto, (max-width: 448px) 100vw, 448px\" \/><br \/>\nComplete personnel on \u00e2\u20ac\u0153Infinity Promenade\u00e2\u20ac\u009d was: Rogers (comp, arr, cond, flugel); Conrad Gozzo Maynard Ferguson, Pete Candoli, John Howell (tps); Milt Bernhart, John Haliburton, Harrt Betts (tbs); John Graas (fh), Gene Englund (tuba), Art Pepper Bud Shank (as); Jimmy Giuffre (ts),Bob Cooper (bs) Marty Paich (p), Curtis Counce (b), Shelly Manne (d).<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/fDrG-y6HCXk\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Thirty years later at the 1983 Aurex Festival in Japan. Rogers brought together a galaxy of his west coast colleagues in a new arrangement of \u00e2\u20ac\u0153Infinity Promenade:\u00e2\u20ac\u009d Rogers, flugelhorn; Bud Shank, alto sax; Jimmy Giuffre and Bob Cooper, tenor sax;; Bill Perkins, baritone sax; Pete Jolly, piano; Monty Budwig, bass; Shelly Manne, drums.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Y9P0vZEpCp4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Have an infinitely good&#8221;\u00a0weekend.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Sixty-three years ago\u00e2\u20ac\u201dalmost to the day\u00e2\u20ac\u201dShorty Rogers included \u00e2\u20ac\u0153Infinity Promenade\u00e2\u20ac\u009d in his classic Short Stops album. Let\u00e2\u20ac\u2122s hear it again. The introductory cymbals magic is by Shelly Manne. Soloists are alto saxophonist Art Pepper, Rogers on trumpet, and pianist Marty Paich. However, what blows minds all this time later is the double trumpet lead near [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8255,"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-8254","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8254","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=8254"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8254\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8255"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8254"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8254"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}