1965

After Ferguson disbanded his orchestra at the end of 1964, there were several rumored options for his future. Movie soundtracks in Spain, a west coast-based band, and album deals were all cited in various news publications. A news item published by Down Beat in February gave a clearer rundown of what was to come next. Ferguson is quoted as planning to do appearances as a soloist, in small groups, or whatever else fits the situation. He also stated he was planning to still do college dates with his twelve-piece band book in the New York and Chicago areas. [1] Apart from the movie soundtracks in Spain (although his passport does show a trip to Portugal and Spain from December 1–9, 1964), [2] evidence was found for all of these plans in 1965.

1965 started off in California with a ten-day big band stint at the Lighthouse in Hermosa Beach. Shortly thereafter Ferguson was back on the east coast, playing a college dance in Connecticut alongside singer Morgana King. This was the first of a series of one-night engagements by the big band that ended midway through February. He also participated in a clinic and jam session at Villanova University.

Details are incomplete concerning the big band personnel for these engagements. Mentioned in a review of the Potsdam, New York show were Charlie Mariano (as), Willie Maiden (ts), and Tony Inzalaco (d). [3]

By the end of March, Ferguson had assembled a sextet for appearances at jazz clubs. All the members were veterans of his big band, but this was a more intimate sounding ensemble, giving Ferguson a chance to do something a little different. Ferguson said, “The sextet was the most musical kicks I had in a long time.” [4] But although this endeavor may have had artistic appeal for the leader, it was certainly also more economical to hire only five other performers. Reduced payroll and transportation costs as well as the potential for fresh bookings in new venues offered enticing possibilities. Liner notes by Leonard Feather state that this group would perform at “many of the major jazz rooms and festivals around the country.” Feather also claimed this to be “one of the most productive stages of his evolution.” [5] The first appearance for this new formation was a run at the Metropole in New York with the London House in Chicago not far behind.

Most of the concert reviews found for this group’s performances were not overly positive. The New Yorker called the group “Ferguson’s banshee sextet” regarding the Metropole appearance. [6] Pete Welding, reviewing a night in Chicago’s London House for Down Beat, wrote that the music was “still brash and strident, relying on more bravura musical calisthenics than anything else.” Welding did call the arrangements sturdy and “solidly crafted ones.” Ferguson was also apparently having chop trouble on the night of review, where the “upper-register broke in the air.” [7] The individual performers were named in the review:

Between the Metropole and the London House, Ferguson put together a big band for the opening of the Charade Supper Club in Detroit (a gala benefit for the NAACP) as well as a Senior Farewell Dance at Moravian College in Pennsylvania. He was mentioned in the Detroit press as still performing at the Charade as of April 23.

By the end of May, Ferguson was back into big band mode for the summer amusement parks and jazz concert series. Familiar stops such as Hershey Park, Music Carnival, Music Circus, Cedar Point Ballroom, Idora Park, and Barn Arts Center filled the itinerary. However, as in the spring, the performance schedule appears far less dense. Speaking with Ralph J. Gleason, Ferguson commented about this final period on the east coast. “It got so I was an employment agency for sidemen that weren’t working. It got so there were so many new guys coming in that I didn’t even know them.” [8]

The sextet played a week at the Showboat Lounge in Washington, D.C., and the critical evaluation, in contrast to earlier reviews, was very positive. Reviewer John Pagones of the Washington Post said that the Ferguson and company “are a gifted group who swing solidly with musical muscle all the way,” and concluded his report by stating, “I hope they make it back to town in a hurry.” [9] (

Dorothy Kilgallen’s newspaper column of September 8 announced that Ferguson’s big band and Dorothy Dandridge were to be co-stars for the re-opening of Basin Street East that Friday under a new “name” policy. The New York club had closed its doors two weeks prior after trying to make it with rock ’n’ roll attractions. [10] However, Dandridge was found dead in her apartment that same day. By the time of the re-opening on September 10, advertising for the engagement was listing Morgana King along with the Ferguson big band.

The next week, Ferguson brought his sextet into the studio for his third and final album on the Mainstream label. The membership of the sextet remained steady (also confirmed in the London House and Showboat Lounge reviews). Ferguson was then scheduled to travel to California to appear on a Monterey Jazz Festival “Tribute to the Trumpet” program, [11] but this apparently did not occur. He is not listed in the festival program and later reviews do not mention him at all. [12]

On September 26, Ferguson suffered the loss of an important family member when his mother, Olive, died suddenly in a hospital in Saratoga Springs, New York. A newspaper article reviewing his Cincinnati appearance noted that if the trumpeter did not seem overly happy, it was because his mother had died less than two weeks ago. [13]

New Musical Express, September 17, 1965 p.5.

On September 29, Ferguson arrived by plane in England. [14] That same evening, he appeared at Royal Festival Hall as part of the Commonwealth Arts Festival, and the next day he filmed an appearance on the BBC Jazz 625 television show. For these performances, Ferguson was accompanied by the Johnny Dankworth orchestra. Reviews of the Royal Festival Hall performance noted that there were “fluffs” and that Ferguson was “far below his New York norm.” [15] Barry Dawson wrote, “There were the most cogent personal reasons for MF being off peak: to a shattering bereavement and a last-minute arrival in this country could be added the strain of adjustment to a new continent. But the star seemed in every way to be off orbit.” [16] Ferguson departed from England on October 4. [17] After that trip, the sextet spent a week in Cincinnati opening up a brand new club called the Living Room Supper Club, then Ferguson finished out the year with a few homecoming dances and winter formals at universities.

1966

1966 would be another year of change for Ferguson. Before its close, Ferguson and his family would no longer be living on the Timothy Leary estate and would be based in California. Ferguson would be exclusively acting as a solo guest artist with local bands. His main activity would be on the San Francisco–Los Angeles–Las Vegas circuit, harking back to his pre-Birdland Dream Band days on the west coast.

There are nearly two months between the previous date and the next one in this chronology, and only one performace in the previous three months. On February 5, Ferguson and his sextet entered CBS Studio 45 to tape an episode of Dial M For Music. The show aired on March 6 at 4:30 p.m. and featured the Modern Jazz Quartet and the Ferguson sextet comparing renditions of the George Gershwin’s “Summertime.” This television broadcast, as recorded by collector Boris Rose, is the source of the LP Hooray for Modern Jazz Quartet & Maynard Ferguson Sextet. [18]

The weekend of March 4–6 was particularly eventful. A trio of concerts was scheduled: one at Carnegie Hall, one at Syria Mosque in Pittsburgh, and one at the Philadelphia Academy of Music. These events featured an all-star bill with Billy Eckstine, Oscar Peterson, Nipsey Russell, and Ferguson all slated to appear. The midnight concert at Carnegie Hall seems to have gone off without a hitch. However, Oscar Peterson’s father died on Friday, and Peterson withdrew from the rest of the tour. Billy Eckstine’s flight to Pittsburgh was canceled due to fog, and he had to miss the next show as well. After finding his flight also fogged in, Nipsey Russell rushed over to Newark, New Jersey to catch the last flight out and made the Pittsburgh show. On Saturday morning, a local student lost control of his car and ran into Ferguson’s parked car at Millbrook. However, Ferguson and his orchestra were travelling by bus and made the Pittsburgh show. When it was announced that only Ferguson and Russell would be performing, the promoter had to refund nearly $6,000. In a matter of moments, a $3,500 profit turned into a $1,000 loss. [19] The Philadelphia booking had two shows, at 6:15 p.m. and 9:15 p.m. Oscar Peterson was still out, and Billy Eckstine missed the early show, resulting in more customers requesting refunds. But just prior to the first show, Ferguson had called home, only to hear that the call could not go through because the house was on fire. The Philadelphia Daily News reported that Ferguson “kept a stiff upper lip — the show had to go on.” [20] This all-star bill performed later in the month at the Sheraton Park Hotel in Washington, DC. [21]

The Poughkeepsie Journal tells the story of the fire at the Ferguson home. A fire that started on the third floor and burst through the steeple several times required thirty firefighters, two pumpers, and a utility truck to extinguish. Several teenagers, including Timothy Leary’s son, were credited with alerting the Ferguson family, helping them escape, and calling the fire department. Witnesses said that smoke was pouring out of the windows and the eaves. While no cost estimate for the damage was given, it was stated that the third floor bedroom was scorched and that the second and first floors had smoke and water damage. The article also states that Ferguson was performing on TV in Philadelphia at the time of the fire. This would have been the 4:30 p.m. broadcast of the Dial M for Music show taped a month prior. [22]

Ferguson continued performing on the east coast for a few gigs after this weekend in both the big band and sextet formats. Several advertisements listed Ferguson as a participant at a trumpet-oriented feature at the Longhorn Jazz Festival in Austin, Texas, produced by impresario George Wein. Some advance publicity for the festival mentioned a reunion with singer Chris Connor. [23] However, Ferguson was eventually replaced in the lineup by Coleman Hawkins, and the event instead ended up having a saxophone focus. An engagement in Springfield, Massachusetts advertised for the same date as the Longhorn Jazz Festival was also canceled.

Flo Ferguson reported, “Maynard got a four-week job in Las Vegas. Bentley and Wilder accidently set the upper floor of the gatehouse on fire so we left everything behind except for some beautiful pieces that we had collected and went to Las Vegas. Kim wanted to stay behind as she was invited to live with a wonderful family with teenage children so she could finish high school in Millbrook. That ended our Millbrook experience!” [24]

Also worth mentioning is that on April 17, 1966, Millbrook was raided by twenty-five law enforcement officers. Timothy Leary along with three guests were arrested for possession of narcotics. More than thirty other people were noted present during the raid, although none were named. No mention of Ferguson or his family was made. In fact, Ferguson himself was likely already in or en route to Detroit at the time of the raid. However, Ferguson alumnus Denis DiBlasio recalls a story told to him by Maynard where Maynard was supposed to testify in court based on this raid, but because of his connections in Vegas, he ended up not having to testify. [25]

The four-week job in Las Vegas was in the Blue Room at the Tropicana Hotel. The show featured Tommy Sands, Jackie Gayle, George Shearing, and the Maynard Ferguson Orchestra (which also backed Tommy Sands). Ferguson’s orchestra was held over for an additional two weeks for a show with June Christy and Phil Foster. The personnel included trumpeter Buddy Childers and trombonist Bill Harris. [26]

Ferguson also flew out to New Jersey for a one-day jazz festival for the Vineland Jaycees that also featured Louis Armstrong and his All Stars and the Dave Brubeck Quartet. Ferguson later recalled “I flew back to New Jersey on Memorial Day weekend to play one date with the big band that I couldn’t get out of. I called Willie Maiden, my arranger, and said, ‘Get me a band,’ and the wildest thing happened. That night Maiden said, ‘You aren’t going to believe this,’ and he was right. Guys who hadn’t been in the band for two or three years were all there. It was like a reunion.” [27]

The remainder of the summer and fall of 1966 saw Ferguson on the Oakland–San Francisco–Los Angeles circuit as a solo act performing with local house bands. Ferguson and his family left Las Vegas at 4 a.m. after the last show and drove to Oakland for his appearance at the Gold Nugget. A next day review by Russ Wilson described a scene where tenor saxophonist Bob Cooper and rhythm section (pianist Bryce Rohde, bassist Fred Marshall, and drummer Jerry Granelli) filled in until he arrived at 10:05 p.m., making it the advertised quintet. [28] Later dates featured only a quartet, with Ferguson accompanied by pianist Gerry Olds, Marshall, and Granelli.

Ferguson’s next California appearances were at the San Francisco and Los Angeles Playboy Clubs. These venues had been presenting jazz with big name leaders fronting orchestras with backing musicians drawn from a common pool of local professionals. Included in the Los Angeles band were tenor saxophonist Harold Land, trumpeter Conte Candoli, and trombonist Frank Rosolino. [29] An article by Leonard Feather described Ferguson’s first appearance at the Playboy Club in Los Angeles. [30] Feather also noted Ferguson as arriving late and described a big band that was sight-reading all night. Some of the men had not even met Ferguson previously. The group would eventually gel, however, and be held over into a third week to solid reviews. [31]

During these three weeks in Los Angeles, Ferguson also went into a studio to record the soundtrack for the film Urbanissimo. This was a five-and-a-half-minute animated short that would be featured at the “Man and the Community” pavillion at Expo 67 in Montreal. The soundtrack featured big band music only, with no dialogue. Along with Ferguson, the soloists listed on screen were Harry ‘Sweets’ Edison on trumpet, Pete Jolly on piano, Ray Brown on bass, and Shelly Manne on drums. Ferguson’s trademark high scream soloing can be heard near the end of the track. [32]

In October, Ferguson would travel to Vancouver, Canada to perform with a local house band at Issy’s Supper Club. During this week a recording was made that would be broadcast about a month later on the Jazz Canadiana show over the CBC. Then Ferguson appeared at the Pacific Jazz Festival, which put on “Balboa Revisited,” a Stan Kenton event where some Kenton alumni joined his band. He would finish out the year with short stints in Oakland and a month-long engagement at the Blue Room in Las Vegas.

The big band at the Holiday Inn was planned to include Ferguson veterans Willie Maiden and Don Rader, but they were unavailable, having been hired in the meantime by Charlie Barnet. [33] In the end the ensemble consisted of:

When Ferguson brought a big band into the Gold Nugget for three nights in December, it was composed of mostly the same musicians, all Bay area locals with the exception of Los Angeles-based lead trumpeter Al Porcino. Once again, travel troubles plagued Ferguson on opening night when he arrived an hour and a half late as a result of a flight delay due to fog. The audience, however, enthusiastically welcomed the tardy star. [34]

1967

1967 would see Ferguson again in many locations. He spent the year bouncing from Las Vegas to California, then to the east coast with some time in Montreal for Expo 67, then back to the west coast, and finally making a tour of the United Kingdom. It was on this tour that Ferguson would again find stable footing, and his new British band would launch him into the next fully-formed era of his career.

Ferguson started off the year back at the Tropicana Blue Room in Las Vegas, appearing on a double bill with Mel Torme for three weeks. This was followed by a pair of concerts with Nancy Wilson in San Francisco and Los Angeles. A note in the Montreal Gazette stated that Ferguson “will hit town next week” to tape a television special to be shown on March 3. [35] Subsequent articles as late as February 28 refer to the taping as something to happen in the future. [36] The show was indeed broadcast on March 3.

He next appeared back on the east coast in March with consecutive weeklong appearances at the Showboat in Philadelphia and the Village Gate in New York with Morgana King. It was advertised on March 31 that he would appear in Oakland for four nights to open the new location of the Gold Nugget, but a later article on April 4 stated that Ferguson was “ill” in New York and would not be making that appearance. [37] However, Ferguson did appear in Buffalo for a week at the Royal Arms at the same time he was to have been in Oakland.

The beginning of May had Ferguson performing with a big band for two nights at the Village Gate while also recording the Ridin’ High album. Gary Carner’s Pepper Adams discography gives the recording dates as May 3 and 5 at Bell Sound Studios, New York City. [38] The listed personnel is as follows:

From New York he would return to his hometown of Montreal to participate in Expo 67. In their daily listing of events and performances for the exposition, The Montreal Gazette listed the Maynard Ferguson Sextet first performing on May 15 at 3:45 p.m. at the 1,200-seat bandshell and then appearing regularly in the same spot at the same time through May 22. [39] An additional listing was found for the evening on May 30, which merely stated that Maynard Ferguson and his group would be performing at the Youth Pavilion Theater starting at 8 and 9 p.m. [40]

There were also additional appearances for Ferguson while in Montreal. He appeared on the television show Like Young, broadcast on May 20, and the film Urbanissimo, for which Ferguson recorded the soundtrack in 1966, was playing continuously in the “Man In The Community” pavilion.

Two transcription recordings were made by the CBC during this time. Liner notes from the subsequent releases state, “During the latter part of May 1967, Maynard Ferguson was invited to appear at the Canadian Pavilion at Expo. To celebrate his homecoming, a group of musicians representing the very best in Canadian jazz talent, was assembled by the CBC Transcription Service, and two memorable albums were recorded.” [41] These were broadcast on the radio, but sound like studio, not live performances. These are sometimes listed with the recording dates as May 19 and June 8, but June 8 seems especially unlikely because the Expo pavilions were fully booked. It is possible these were recorded after hours at the Expo.

The listed personnel for the Maynard Ferguson Sextet at Expo transcription is:

The listed personnel for the Maynard Ferguson Orchestra at Expo transcription is:

By June 23, Ferguson was back in Las Vegas at the Blue Room with Morgana King. In July he was booked for two weekend stints at the new Gold Nugget in Oakland with a big band that included his old Stan Kenton bandmate Art Pepper playing tenor saxophone. [42] In August he played two weeks with a big band at the Plugged Nickel in Chicago. Bobby Lewis was part of the Chicago-based band that performed with Ferguson at the Plugged Nickel. He recalled Ferguson, wife, and kids living on a bus in the parking lot. “He wanted his money in cash right away, and the club said no no no no — you’ve got to play your two weeks then we’ll pay you. But he was playing very well — he always could.” [43]

A major turning point for Ferguson came when he participated in the “Top Brass” tour of the United Kingdom. This package was produced by Harold Davison and involved Ferguson and his Anglo-American orchestra, along with the Clark Terry–Bob Brookmeyer Quintet, the Doc Cheatham–Benny Morton Quintet, and the Nat Pierce Trio (with Eddie Jones and Jake Hanna). Following two weeks of concert hall appearances, the performers spent a full week at Ronnie Scott’s nightclub (tenor saxophonist Scott was a member of the Ferguson orchestra at this time).

The orchestra lineup for the Top Brass tour was as follows:

Ferguson’s wife and four children accompanied him to the UK, with the intent of traveling to India at the completion of the tour. [46] During this time a friendly relationship with promoter Ernie Garside developed, and Ferguson remained in England to perform for an additional week at Garside’s Club 43 in Manchester. The association with Garside would be an important part of the next period of Ferguson’s career, as he would move to England and be based in Europe for several years. During October, Ferguson also presented a number of clinics sponsored by music stores (Ferguson was promoting his “Liberator” model trumpet produced in conjunction with Jack Bell). These were lecture/demonstrations and local rhythm sections accompanied. At Birmingham’s Digbeteh Institute, the trio was Johnny Patrick (p), Christ Staunton (b), and Garry Allcock (d). At London’s Notre Dame Hall, Pat Smythe (p), Dave Holland (b), and Bobby Orr (d) performed. [47]

The band at the Club 43 was composed of players from the Manchester area, most of whom were semi-professionals. [48]

Conflicting information exists regarding the final two months of 1967 and Ferguson’s exact timeline/whereabouts. He had a remaining U.S. obligation for two weeks back at the Blue Room in Las Vegas. Newspaper advertisements indicate that those performances began on November 17 and ran through December 2. [49] Down Beat also reported Ferguson appearing at the Plugged Nickel in Chicago after Stan Kenton (who performed there December 13) through the rest of December. [50]

Ferguson’s passport, however, never shows a re-entry into the United States. Flo Ferguson has stated that the whole family came over for the “Top Brass” tour and eventually moved in with Ernie Garside in Manchester while waiting for visas to enter India. But the visas never came, so the family went to Spain to apply for an Indian visa there. The Garsides came with them, but soon left. [51] Maynard Ferguson’s passport shows an entry stamp into Spain on November 14 and and exit stamp on November 18, indicating that Ferguson left with the Garsides. There is no stamp indicating which country he entered on November 18, but there is another stamp showing he exited London on November 20. [52]

The passport stamps next show Ferguson entering Denmark on November 20 and leaving on November 26. A photograph showing Ferguson performing with the Danish Radio Big Band in Copenhagen is dated November 1967, probably during this week. [53] The passport indicates that Ferguson re-entered Spain from Denmark on November 26. [54] According to Flo Ferguson, the family stayed in Spain near where they had visited years earlier and the children attended a Spanish school near the beach. After a month, Garside sent for Maynard to tour with an English band. When Maynard returned, he said there was a long tour for the English band, and the family should return to Manchester. [55]

Passport stamps indicate that Ferguson left Spain on December 11 and returned on December 15 with no mention of where he was in between. [56] The LP Trumpet Rhapsody was recorded in West Germany, with liner notes stating the session was in “mid-December 1967.” [57] It seems reasonable to assume that it happened during this trip.

On December 20 he exited Spain and entered London. [58] Ferguson performed five more times at Club 43 between December 21 and 30. A BBC Jazz Club show aired on December 20, however that show was recorded on November 2 during his earlier visit. [59] There are also extant recordings of Ferguson performing live at Club 43 during this December period, probably made by Garside. Once Ferguson arrived on December 20, England would be his European home base for the next five years, setting up the next major era of his career.

Full 1965–1967 Chronology with References

Bibliography

The chronology references were collected primarily from several online databases, including RIPM Jazz Periodicals, NewspaperArchive, Newspapers.com, and ProQuest Historical Black Newspapers. Special thanks to Bill and Susan Collins of the Sherman Jazz Museum, especially for permission to examine Ferguson’s passport.

• Brown, Tony. “The Two Greatest Critics Are on Each Side of My Head Says Maynard Ferguson.” Crescendo 6, no. 4 (November 1967): 20–22.
• Cohen, Harold V., “Tough Way to Make a Living,” Pittsburgh Post Gazette March 8, 1966.
• DeMicheal, Don. “Monterey: 1965.” Down Beat 32, no. 23 (November 4, 1965): 19–23.
• Feather, Leonard. “Ferguson Greets Band, Then Blows,” Los Angeles Times July 29, 1966.
• Gleason, Ralph J. “The Rhythm Section.” Honolulu Advertiser, June 19, 1966.
• Harkins, Edwin. Maynard Ferguson: A Discography. [s.l.]: Edwin Harkins, 1976.
• Jungheim, Ralph. Maynard! Marina del Rey, CA: Buster Ann Music, 2009.
• Lee, William F. MF Horn: Maynard Ferguson’s Life in Music. Ojai, CA: M.F. Music U.S.A., 1997.
• Lord, Tom. The Jazz Discography Online. Chilliwack, BC: Lord Music Reference, Inc., 2020.
• Meeker, David. Jazz on the Screen Filmography. Library of Congress https://www.loc.gov/item/jots.200016730/
• Peters, Art. “Jazz Promoter Sings the Blues as Eckstine, Peterson Fail to Show.” Philadelphia Tribune March 12, 1966.
• Reynolds, Stan. “On the Spot: Top Brass.” Crescendo 6, no. 4 (November 1967): 8,30.
• “Trumpet Stars to Headline Jazz Festival.” Santa Cruz Sentinel June 6, 1965.
• Welch, Chris. “Top Brass Reaches the Heights.” Melody Maker October 7, 1967.
• Welding, Pete. “Caught in the Act.” Down Beat 32, no. 13 (June 17, 1965): 39–40.
• Wilson, Russ. “Ferguson Delights Nugget Audience.” Oakland Tribune June 24, 1966.
• Wilson, Russ. “Ferguson Fans Are Devoted.” Oakland Tribune December 3, 1966.
• Wilson, Russ. “Melodrama Ends in All That Jazz.” Oakland Tribune June 8, 1966.
• Wilson, Russ. “World of Jazz: Monterey Sets Festival Theme.” Oakland Tribune April 11, 1965.

References

[1] “Maynard Ferguson ‘Gets Away From It All’ — Breaks Up Band,” Down Beat 32, no. 5 (February 25, 1965), 12

[2] Maynard Ferguson’s 1962–72 Canadian passport, Maynard Ferguson Collection, Sherman Jazz Museum, Sherman, TX.

[3] Clarkson Integrator February 20, 1965; Racquette February 19, 1965.

[4] Ralph J. Gleason, “The Rhythm Section,” Honolulu Advertiser, June 19, 1966.

[5] Leonard Feather, liner notes to Maynard Ferguson: Magnitude, Mainstream MDCD 712, 1991.

[6] The New Yorker April 10, 1965.

[7] Pete Welding, “Caught in the Act,” Down Beat 32, no. 13 (June 17, 1965), 39–40.

[8] Gleason, “The Rhythm Section.”

[9] John Pagones, “Jazz Is on Strong — but Better Hurry,” Washington Post July 23, 1965.

[10] Dorothy Kilgallen, Broadway, Lowell Sun September 8, 1965.

[11] Russ Wilson, “World of Jazz: Monterey Sets Festival Theme,” Oakland Tribune April 11, 1965. “Trumpet Stars to Headline Jazz Festival,” Santa Cruz Sentinel June 6, 1965.

[12] Not reported in Don DeMicheal, “Monterey: 1965,” Down Beat November 4, 1965. See also 1965 Monterey Jazz Festival program at https://exhibits.stanford.edu/mjf/catalog/tv929qq6588

[13] Dale Stevens, “Rolling Stones Reaching Adult Audience,” Cincinnati Post October 9, 1965.

[14] Ferguson passport.

[15] Jack Carter, “Commonwealth Jazz ’65,” Crescendo 4, no. 4 (November 1965), 14.

[16] Barry Dawson, “Harriot’s Jazz Voice Was Loud and Sure — but M.F. Below His Best,” Crescendo 4, no. 4 (November 1965), 15.

[17] Ferguson passport.

[18] Issued on Session Disc 112.

[19] Harold V. Cohen, “Tough Way to Make a Living,” Pittsburgh Post Gazette March 8, 1966. Account of Ferguson’s car being hit is found in Poughkeepsie Journal March 5, 1966.

[20] “All Wasn’t Jazzy,” Philadelphia Daily News March 8, 1966.

[21] Although the Washington Post advertisement (March 20, 1966) for this event does not mention Ferguson, a very detailed later recollection specifically names him in place of Mongo Santamaria: Philip Terzian, “Reminiscing in Tempo,” Weekly Standard November 13, 2006, 4.

[22] “Fire Damages Gatehouse on Millbrook Dieterich Estate Occupied by Jazz Trumpeter, Family,” Poughkeepsie Journal March 7, 1966.

[23] Austin American March 6, 1966; Austin Daily Texan March 23, 1966. The Springfield gig is noted in Agawam Independent March 17, 1966.

[24] William F. Lee, MF Horn: Maynard Ferguson’s Life in Music (Ojai, CA: M.F. Music U.S.A., 1997), 93.

[25] William Borders, “LSD Psychologist Arrested Again,” New York Times April 18, 1966. Dennis DiBlasio gives Maynard Ferguson’s story of the Millbrook raid at https://www.youtube.com/watch?v=WhskOJgWQYM

[26] Gleason, “The Rhythm Section.”

[27] Ibid.

[28] Russ Wilson, “Melodrama Ends in All That Jazz,” Oakland Tribune June 8, 1966.

[29] Larry Lipson, “Cafe Ramblings with Larry Lipson,” Van Nuys News August 5, 1966. Eliot Tiegel, “Ferguson: Old Faces of ’66,” Billboard August 13, 1966, 74.

[30] Leonard Feather, “Ferguson Greets Band, Then Blows,” Los Angeles Times July 29, 1966.

[31] “Playboy Club Extends Star with Trumpet,” Van Nuys News August 5, 1966.

[32] The short film Urbanissimo can currently be viewed at https://www.youtube.com/watch?v=xD4odfLMj8c

[33] Russ Wilson, “Jazz Brightens Eastbay Scene,” Oakland Tribune October 2, 1966.

[34] Russ Wilson, “Ferguson Fans Are Devoted,” Oakland Tribune December 3, 1966.

[35] Gerald FitzGerald, On & Off the Record, Montreal Gazette January 26, 1967.

[36] Al Palmer, “Show Time,” Montreal Gazette February 28, 1967.

[37] Russ Wilson, “Swinging Showcase Run,” Oakland Tribune April 4, 1967.

[38] Gary Carner, Pepper Adams’ Joy Road (Lanham, MD: Scarecrow Press, 2012), 174.

[39] “Expo 67 Today,” Montreal Gazette daily from May 15, 1967.

[40] “Expo 67 Today,” Montreal Gazette May 30, 1967.

[41] Liner notes to Maynard Ferguson and His Orchestra, Radio Canada International 265.

[42] Perry Phillips, “Night Sounds,” Oakland Tribune July 11, 1967.

[43] Brad Walseth, “Bobby Lewis: Chicago’s Lyrical Master of the Horn,” http://www.bobbylewis.com/interviews/bobby-lewis-jazz-trumpet.html

[44] Photo published in Crescendo 6, no. 4 (November 1967), 21.

[45] Chris Welch, “Top Brass Reaches the Heights,” Melody Maker October 7, 1967.

[46] Lee, MF Horn, 109.

[47] Fred Mercer, “Stimulating Demos,” Crescendo 6, no. 5 (December 1967), 29 and Jimmy Staples, “Instrumental Reflections,” Crescendo 6, no. 5 (December 1967), 19.

[48] Alan Stevens, “Maynard Ferguson Tears the Place Apart!” Crescendo 6, no. 5 (December 1967), 4.

[49] Paul Flowers, “Paul Flowers Talks on Entertainment,” Venice Evening Vanguard November 17, 1967.

[50] “Ad Lib: Chicago,” Down Beat 35, no. 2 (January 25, 1968), 41.

[51] Lee, MF Horn, 111.

[52] Ferguson passport.

[53] Photo by Jan Persson at https://www.gettyimages.co.uk/detail/news-photo/american-jazz-trumpeter-maynard-ferguson-with-the-danish-news-photo/1010712516

[54] Ferguson passport.

[55] Lee, MF Horn, 111.

[56] Ferguson passport.

[57] Liner notes to Trumpet Rhapsody, MPS 15 166 ST, 1968.

[58] Ferguson passport.

[59] Douglas Enefer, Fanfare, Newcastle Evening Chronicle, December 16, 1967.

Author Information: 
Thomas Herb currently serves as Professor of Music Education and as the Director of the Graduate Music Education program at Southern Utah University. He has published articles in several music education books, including the Teaching Music through Performance in Band series (GIA Publications), and his own book Teaching Improvisation...in Concert Band?!? (MVP Publishing). An avid jazz devotee, he performs over fifty times a year with local jazz combos and is the Founder/Director of The Jazz Alliance of Cedar City which brings jazz performances to Cedar City. He also considers himself an enthusiastic amateur in regards to jazz research, with bandleader Maynard Ferguson as his specialty. He lives in Cedar City, Utah with his wife and four growing children.

Abstract: 
The article presents the day-to-day activities of Canadian trumpeter and bandleader Maynard Ferguson during the years 1965 to 1967. Based on listings, advertisements, and reviews published in contemporary newspapers and periodicals, Ferguson’s concert, dance, and nightclub appearances are included. The performance chronology also includes recording sessions and identifies orchestra personnel when known.

Keywords:
Maynard Ferguson, Birdland Dream Band, jazz, chronology

How to cite this article:

• Chicago 17th ed.: Herb, Thomas. “Maynard Ferguson’s Birdland Dream Band: A Performance Chronology of the Years 1965–1967.” Current Research in Jazz 15 (2023). Accessed [date of access]. http://www.crj-online.org/v15/CRJ-FergusonChronology4.php.
• MLA 8th ed.: Herb, Thomas. “Maynard Ferguson’s Birdland Dream Band: A Performance Chronology of the Years 1965–1967.” Current Research in Jazz vol. 15, 2023, www.crj-online.org/v15/CRJ-FergusonChronology4.php. Accessed [date of access].
• APA 7th ed.: Herb, T. (2023). Maynard Ferguson’s Birdland Dream Band: A Performance Chronology of the Years 1965–1967. Current Research in Jazz, 15. http://www.crj-online.org/v15/CRJ-FergusonChronology4.php

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