Magazine article IAJRC Journal

Complete Debut Recordings

Magazine article IAJRC Journal

Complete Debut Recordings

Article excerpt

John LaPorta

Complete Debut Recordings

Lone Hill Jazz LHJ 10345

John LaPorta Quintet: Louis Mucci (tp) John LaPorta (cl, as) Wally Cirillo (p) Richard Carter (b) Ed Shaughnessy (d), New York, March 9 1954

Fluid Drive (3 takes)/Right Around Home (2 takes)/The Old Man's Touch (2 takes)/The Hectic Life (2 takes)/Quarto (2 takes)/Fringe Area (2 takes)

Three Moods - John LaPorta Quintet: Louis Mucci (tp) John LaPorta (cl, as) Barry Galbraith (g) Richard Carter (b) Charlie Perry (d), New York, April and June 1955

Three Moods (Bright-eyed Blues - Minor Rhythm - Bird's World)/ Harangue/Don't Blame Me (2 takes)/Two Party Campaign/All the Things You Are(2 takes)/Chance Acquaintance/Saxidental (2 takes, one compete, one partial - both previously unissued)/Bright-eyed Blues (alt take - previously unissued)

Conception - John LaPorta Septet: Louis Mucci (tp) Sonny Russo (tb) John LaPorta (cl, as) Sol Schlinger (bs) Wally Cirillo (p) Wendell Marshall (b) Clem DeRosa (d), New York, June 1956

Nightly Vigil/Concertina for Clarinet/Triplets, You Say?/Small Blue Opus/Little Fantasy/En Rapport/Wash Day/Perdido/Lou's Tune/ Absentee/ Fermé La Porta

The Clarinet Artistry of John LaPorta - John Laporta Trio: John LaPorta (cl) Jack Keller (p) Clem DeRosa (d), San Francisco, January 30, 1957

Dirge for Dorsey/Between the Devil and the Deep Blue Sea/Darn That Dream/Wrap Your Troubles In Dreams. TT: 2.33.

For nearly sixty years, from the early forties until his death in 2004, John LaPorta was a highly respected jazz musician and educator. His first professional gig was with the Bob Chester band in 1942. In the fall of 1944, he joined Woody Herman's First Herd playing third alto, replacing Bill Shine, and remained with the band until it broke up in December 1946. Following his incumbency with the Herman band, LaPorta was associated for a period with Lennie Tristano and it was during this period that he came to the attention of Barry Ulanov, a co-editor of Metronome magazine and one of the most influential jazz writers of the time. However, despite Ulanov's fervent advocacy, he never became a household name but nevertheless was highly regarded by both fellow musicians and knowledgable jazz listeners.

His first recordings as a soloist were with Tristano and over the next few years, he was featured on clarinet with specially assembled groups for the Bands for Bonds broadcasts and recorded with Metronome All Star bands in 1951 and 1953. …

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