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74-567: According to an announcer for a TV show that Ralph J. Gleason hosted: "In his syndicated newspaper column, Mr. Gleason has been the foremost interpreter of the sounds coming out of what he calls 'the Liverpool of the United States.' Mr. Gleason believes the San Francisco rock groups are making a serious contribution to musical history." Ralph Gleason became one of the founders of what would become

148-474: A record producer at Columbia. Trumpeters Randy Brecker and Jerry Weiss also left and were replaced by Lew Soloff and Chuck Winfield. Brecker joined Horace Silver 's band. Jerry Weiss went on to start the similarly styled group Ambergris. Colomby and Katz looked for a new vocalist and considered Alex Chilton , Stephen Stills , and Laura Nyro, before deciding on David Clayton-Thomas , a Canadian from Toronto. Trombonist Halligan moved to organ and Jerry Hyman

222-494: A "roving" (rather than the conventional "stay-at-home") style. In jazz it had been exuberantly pioneered by numerous musicians. A musician who was a leading example of this, Jack Casady of Jefferson Airplane (and the offshoot Hot Tuna ) pioneered the approach, perhaps best represented on the album Bless Its Pointed Little Head . Phil Lesh , bassist with the Grateful Dead, furthered this sound. Lesh had developed his style on

296-578: A 2023 feature-length documentary titled "What the Hell Happened to Blood, Sweat & Tears?" After returning to the U.S., the group released Blood, Sweat & Tears 3 in June 1970, produced by Roy Halee and Colomby. The album was another success, spawning hit singles with Carole King's "Hi-De-Ho" and another Clayton-Thomas composition, "Lucretia MacEvil". The group recreated the formula with more arrangements by Lipsius. Reviews sometimes focused solely upon

370-872: A European tour that ended abruptly after 31-year-old saxophonist Gregory Herbert died of a drug overdose in Amsterdam on January 31, 1978. Rocked by the event, the group returned home. In 1979, with the encouragement of longtime BS&T manager Fred Heller, who had numerous requests for the band to play more shows, Clayton-Thomas decided to continue Blood, Sweat & Tears with an entirely new lineup that consisted of himself and other Canadian musicians ( Kenny Marco – guitar, David Piltch – bass, Joe Sealy – keyboards, Bruce Cassidy – trumpet, flugelhorn, Earl Seymour – sax, flute, Steve Kennedy – sax, flute and Sally Chappis – drums, with Harvey Kogan soon replacing Kennedy and Jack Scarangella succeeding Chappis). The group signed to Avenue Records subsidiary label LAX ( MCA Records ), with

444-574: A Hit , and the hour-long programs on San Francisco rock , Go Ride the Music , for the series Fanfare , episode 9, for National Educational Television , A Night at the Family Dog , episode 10, for National Educational Television , and West Pole . Gleason's name shows up in tribute on Red Garland 's "Ralph J. Gleason Blues" from the 1958 recording Rojo (Prestige PRLP 7193), re-released on Red's Blues in 1998. Gleason's lasting legacy, however,

518-458: A blues singer from New Orleans replaced LaCroix. By the close of 1974 Jerry Fisher was tired of BS&T's heavy touring schedule. Colomby and manager Fred Heller engineered the return of Clayton-Thomas in the hope of restoring the band's former success. Clayton-Thomas met the group in Milwaukee while Jerry Fisher and Luther Kent were still with the band. All three singers appeared on stage before

592-460: A career as a producer. In March, Winfield departed as well and was replaced by Tom Malone . The next album, No Sweat (June 1973), featured horn work from Tom Malone. He soon left to make way for trumpeter John Madrid . But Madrid was likewise short-lived and he never recorded with the band. Both Madrid and Soloff left in late 1973, making way for new horn player/arranger Tony Klatka on the next release, Mirror Image (July 1974), which also saw

666-429: A dozen former members of Blood, Sweat & Tears, (Tony Klatka, Fred Lipsius, Lew Soloff, Dave Bargeron, Randy Brecker and others) performing on the album and providing arrangements to some of the songs. Released in 1999, it was first only available at Clayton-Thomas' concerts but made more widely available in 2001. BS&T continued without Clayton-Thomas. Dorr has been manager (and much more) for over 30 years now, and

740-611: A shift from one subculture to the next. Monterey, California is about 120 road miles south of San Francisco. At the June 1967 Monterey Pop Festival , Bay Area groups performed from the same stage as established and fast-rising musical groups and well-known individual artists from the U.S., the UK, and even India. Soon after, Ralph J. Gleason and Jann Wenner , based in San Francisco, established Rolling Stone magazine (first issue's date: November 1967). Each San Francisco band had its characteristic sound, but enough commonalities existed that there

814-613: A siege of measles while a student at Horace Greeley High School in Chappaqua, New York , he heard Louis Armstrong , Earl Hines and Fletcher Henderson on the radio. He graduated from Columbia University (where he was news editor of the Columbia Daily Spectator ) in 1938. In 1939, Gleason co-founded Jazz Information with Eugene Williams , Ralph de Toledano , and Jean Rayburn, who Gleason would marry in 1940 and have three children. During World War II , he worked for

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888-422: A slightly altered lineup of: David Clayton-Thomas (vocals, guitar), Robert Piltch (guitar), David Piltch (bass), Richard Martinez (keyboards), Bruce Cassidy (trumpet, flugelhorn), Earl Seymour (sax, flute), Vernon Dorge (sax, flute) and a returning Bobby Economou on drums, and with producer and arranger Jerry Goldstein , recorded the album Nuclear Blues (March 1980). The album was yet another attempt to reinvent

962-560: A wildly enthusiastic crowd. The album New City , in April 1975, featured Clayton-Thomas along with new horn player Joe Giorgianni. It reached number 47 on the US Billboard album chart. The album has half original material along with songs from Janis Ian , Randy Newman , and Blues Image . The highest-charting song was the Beatles ’ “ Got to Get You into My Life " which peaked at number 62. In

1036-464: Is an American jazz rock music group founded in New York City in 1967, noted for a combination of brass with rock instrumentation. BS&T has gone through numerous iterations with varying personnel and has encompassed a wide range of musical styles. Their sound has merged rock , pop and R&B / soul music with big band jazz . The group's self-titled second album spent seven weeks atop

1110-581: Is his work with Rolling Stone . His name, alongside that of Hunter S. Thompson , still remains on the magazine's masthead today, more than four decades after his death. On June 3, 1975, Gleason died of a heart attack at the age of 58 in Berkeley, California. Originally awarded by BMI and Rolling Stone . Currently awarded by the Rock & Roll Hall of Fame , New York University ’s Clive Davis Institute of Recorded Music , and The Pop Conference. This generation

1184-465: Is producing poets who write songs, and never before in the sixty-year history of American popular music has this been true. In a 1976 review of the Santana album Caravanserai , Gleason wrote that the album affirmed, and "speaks directly to the universality of man, both in the sound of the music and in the vocals." Blood, Sweat %26 Tears Blood, Sweat & Tears (also known as " BS&T ")

1258-679: The New York Herald Tribune , the Los Angeles Times , the Chicago Sun-Times , the Sydney Morning Herald , Playboy , Esquire , Variety , The Milwaukee Journal and Hi-Fi/Stereo Review . For National Educational Television (now known as PBS ), Gleason produced a series of twenty-eight programs on jazz and blues, Jazz Casual , featuring Dizzy Gillespie , B.B. King , John Coltrane , Dave Brubeck ,

1332-615: The Electric Flag , but by the mid-1970s the group's popularity had declined. Al Kooper (keyboards, vocals), Bobby Colomby (drums), Steve Katz (guitar, vocals), and Jim Fielder (bass) played at the Village Theatre (later renamed Fillmore East ) in New York City on September 16, 1967, with James Cotton Blues Band opening. Kooper was the initial singer and musical director, having insisted on that position based on his work with

1406-531: The Modern Jazz Quartet , Vince Guaraldi with Bola Sete , Jimmy Witherspoon , and Sonny Rollins , among others. The series ran from 1961 to 1968. He also produced a two-hour documentary on Duke Ellington , which was twice nominated for an Emmy . Other films for television included a four-part series on the Monterey Jazz Festival, the first documentary for television on pop music, Anatomy of

1480-649: The Office of War Information . After the war, Gleason settled in San Francisco , which he considered a better town for hearing jazz than New York, and began writing for the San Francisco Chronicle . Gleason wrote a syndicated column on jazz, hosted radio programs, and co-founded the Monterey Jazz Festival with James L. Lyons . He also wrote liner notes for Lenny Bruce 's comedy albums and testified for

1554-599: The Woodstock Festival in August 1969. A film crew caught a few songs, but the band's manager Bennett Glotzer ordered the crew to turn off the cameras and leave the stage since the band had not agreed nor been paid for filming. The band went on a United States Department of State -sponsored tour of Eastern Europe in May/June 1970. Voluntary association with the U.S. government was highly unpopular with "underground" rock fans at

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1628-545: The 1965 album Rubber Soul , which reflected the reciprocal influences shared between the group and Bob Dylan . San Francisco historian Charles Perry recalled that in Haight-Ashbury, "You could party hop all night and hear nothing but Rubber Soul ", and that "More than ever the Beatles were the soundtrack of the Haight-Ashbury, Berkeley and the whole circuit." In San Francisco, musical influences came in from not only London , Liverpool and Manchester , but also included

1702-453: The 45 RPM record, and to the limited potentials of many pop songs and song treatments. It is true that many of the San Francisco bands did record "three-minute" tracks when they desired pop-music station airplay for a song. But in live performance, the bands would often share their improvisatory zest by playing a given song or sequence for as long as five or six minutes, and occasionally for as long as half an hour. Bay area resident Tom Donahue

1776-694: The Band , the Rolling Stones , Billie Holiday and many others. The group has also adapted music from Erik Satie , Thelonious Monk and Sergei Prokofiev into their arrangements. The group was inspired by the "brass-rock" of the Buckinghams and their producer, James William Guercio , as well as the Maynard Ferguson Orchestra. BS&T's success paralleled that of similarly configured ensembles such as Chicago (another group produced by Guercio) and

1850-608: The Baptist)". BS&T 4 earned the group a gold record, however, none of the singles reached the Top 30. During this period the group's popular and commercial success began to decline. After a final show at Anaheim Convention Center on December 31, 1971, Clayton-Thomas left in early January 1972 to pursue a solo career. Columbia issued a Greatest Hits album in February 1972. This album contained edited single versions of some songs, rather than

1924-571: The Blues Project , his previous band with Katz. Fred Lipsius (alto sax, piano) joined the others a month later. A few more shows were played before Lipsius recruited horn players Dick Halligan , Randy Brecker , and Jerry Weiss . The octet debuted at the Cafe Au Go Go on November 17–19, 1967, then played The Scene the following week. Audiences were impressed with the innovative fusion of contemporary styles. After signing to Columbia Records ,

1998-558: The CD, which were digitally replaced by Jimmy Vivino. Bassist Jim Fielder is said to have added some parts to the CD as well. Since late 2005, the band resumed touring with a refreshed line up. The band's first world tour in a decade took place in 2007. From 2008 through 2010, Katz returned to appear at BS&T's shows as a special guest. BS&T and Chicago co-headlined a Jazz festival in Stuttgart , Germany on July 9, 2011, and they also appeared on

2072-460: The Carousel Ballroom (which was later renamed Fillmore West). Outdoor performances, often organized by the band members themselves and their friends, also played their part. Because San Francisco had an especially vibrant and attractive countercultural scene in the latter half of the 1960s, musicians from elsewhere (along with the famous hip multitude) came there. Some stayed and became part of

2146-699: The Cow Palace. At first, the local Bay Area bands played in smaller ones. The early band venues, while the new SF scene was emerging from folk and folk-rock beginnings, were often places like the Matrix nightclub. As audiences grew, and audience dancing became customary, performances moved into venues with more floor space, such as the Longshoreman's Hall, the Fillmore Auditorium, the Avalon Ballroom, Winterland, and

2220-503: The Pussycat , which starred Barbra Streisand and George Segal . The group reconvened in San Francisco in January 1971 with jazz writer/saxophonist Don Heckman serving as producer. With Dave Bargeron replacing Jerry Hyman, they recorded the fourth album, BS&T 4 , released in June 1971. Notable tracks included David Clayton-Thomas' "Go Down Gamblin'" and Al Kooper's "Holy John (John

2294-469: The San Francisco Bay Area, famed singer/songwriter Stevie Nicks gained her first performing experience there in the 1960s with Lindsey Buckingham and his band. Nicks and Buckingham went on to bring that San Francisco sound to established British rock band Fleetwood Mac when they both joined in 1975. Performances of an international super group like the Beatles were hosted in a huge venue like

San Francisco sound - Misplaced Pages Continue

2368-459: The Steve Miller Band) was from Wisconsin, by way of Chicago and New York City while bandmate Boz Scaggs originally called Texas home. The San Francisco bands' music was everything that AM-radio pop music wasn't. Their performances contrasted with the "standard three-minute track" that had become a cliché of the pop-music industry, due to the requirements of AM radio, to the sound capacity of

2442-634: The U.S. charts in 1969 and won the Grammy Award for Album of the Year in 1970. It contained the hit recordings " And When I Die ", " You've Made Me So Very Happy ", and " Spinning Wheel ". All of these peaked at number two on the Billboard Hot 100 . The follow-up album, Blood, Sweat & Tears 3 , also reached number one in the U.S. In addition to original music, the group is known for arrangements of popular songs by Laura Nyro , James Taylor , Carole King ,

2516-584: The addition of vocalist/saxophonist Jerry LaCroix (formerly of Edgar Winter 's White Trash), sax player Bill Tillman, bassist Ron McClure and the exodus of original bass player Jim Fielder. This album shows the influences of Philly Soul , Herbie Hancock's Head Hunters , and Chick Corea 's group Return to Forever . Jerry LaCroix left BS&T to join Rare Earth after playing a final show at Wollman Rink in New York's Central Park on July 27, 1974. Luther Kent ,

2590-452: The album never appeared. During 1977 the BS&;T lineup was again in flux. Stern, Trifan, McCurdy, Buchtel and Tillman all departed to be succeeded respectively by Randy Bernsen , Neil Stubenhaus , Michael Lawrence and Gregory Herbert . Barry Finnerty then took over guitar and Chris Albert trumpet when Bernsen and Lawrence left at the close of the year. In January 1978, the group undertook

2664-684: The band is still a popular touring act. At last count, the overall number of BS&T members since the beginning is up around 165 total people (see roster below). On March 12 and 13, 1993, Al Kooper organized two shows at the Bottom Line in NYC that were advertised as " A Silver Anniversary Celebration of the Classic Album The Child Is Father to the Man ", which featured Kooper, Randy Brecker, Jim Fielder, Steve Katz and Fred Lipsius playing together for

2738-477: The band's work with the U.S. State Department, without discussing the music. Compounding the image problem was a decision to play a lucrative engagement at Caesars Palace on the Las Vegas Strip . This was unpopular with young underground rock fans who identified Las Vegas entertainers with the music of their parents' generation. In late 1970, the band produced soundtrack music for the film comedy The Owl and

2812-537: The band, though he stayed for only about three months. On April 1, 1976, Pastorius joined Weather Report . Pastorius was briefly succeeded by Keith Jones before Danny Trifan stepped in. In 1975 the group was offered a slot at the Newport Jazz Festival in Newport, Rhode Island . The city government was concerned that a "rock band" would attract a rowdy audience; it threatened to revoke the concert permit if BS&T

2886-553: The bi-coastal American folk music revival of the 1950s and 1960s, the Chicago electric blues scene, the soul music scenes in Detroit , Memphis , and Muscle Shoals , jazz styles of various eras and regions. A number of key San Francisco rock musicians of the era cited John Coltrane and his circle of leading-edge jazz musicians as important influences. The journalist Ed Vulliamy wrote: "The Summer of Love had an empress, and her name

2960-524: The concert circuit with a constantly changing roster of players (see roster below) as "Blood, Sweat & Tears" until his final departure in November 2004. Clayton-Thomas, now residing back in Canada, continues his solo career and does occasional shows using only his name. In 1998, to celebrate thirty years after he first joined the group, David Clayton-Thomas began work on a solo CD titled Bloodlines that featured

3034-458: The defense at Bruce's San Francisco 1962 obscenity trial. Gleason wrote liner notes for a broad variety of releases, including the 1959 Frank Sinatra album No One Cares and the 1970 Miles Davis album Bitches Brew . From 1948 to 1960, he doubled as an associate editor and critic for DownBeat . He also taught music appreciation courses at University of California Extension (1960-1963) and Sonoma State University (1965-1967). Gleason

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3108-539: The few who published, in literary bursts, about their perceptions, enthusiasms, and activities); in a word, they generally “kept cool.” The young hippies were far more numerous, less wary, and had scarcely any inclination to keep their lifestyles concealed. The new music was loud and community-connected: bands sometimes presented free concerts in Golden Gate Park and " happenings " at the city's several psychedelic clubs and ballrooms. The many bands that formed signalled

3182-400: The first time in 25 years, accompanied by Anton Fig , Tom Malone, Lew Soloff, John Simon and Jimmy Vivino , as well as a two-woman chorus and string section. The following year, in early February 1994, Kooper returned to the Bottom Line for his 50th birthday celebration, in which he played with members of his new band plus the Blues Project & BS&T. The BS&T lineup at this show was

3256-507: The foundation of having studied classical, brass-band, jazz, and modernist music on the violin and later the trumpet. Exploration of chordal progressions previously uncommon in rock & roll, and a freer and more powerful use of all instruments (drums and other percussion, electric guitars, keyboards, as well as the bass) went along with this " psychedelic -era" music. Brasses and reeds, such as trumpets and saxophones were rarely used, unlike in contemporary R&B and soul bands and some of

3330-589: The full-length album versions. It earned a gold record award in the US, the last BS&T album to do so. Clayton-Thomas was briefly replaced by Bobby Doyle and then Jerry Fisher . Fred Lipsius left as well and was briefly replaced by Joe Henderson , before Lou Marini settled into the new lineup. Founding member Halligan also departed, replaced by jazz pianist Larry Willis (from the Cannonball Adderley Quintet), and Swedish guitarist Georg Wadenius , from

3404-468: The group released Child Is Father to the Man which reached number 47 on the Billboard Pop Albums chart in the United States. Artistic differences quickly developed. Colomby and Katz wanted to hire a stronger lead vocalist. This led to the departure of Kooper in April 1968. Prior to leaving Kooper had already arranged some songs that would be on the second BS&T album. He was soon hired as

3478-466: The group, showcasing the band in a funk sound environment that recalled such acts as Tower of Power and LAX labelmates War (with whom BS&T did several shows in 1980). The album was regarded by many Blood, Sweat & Tears fans as uncharacteristic of the group's best work. During this period, another live album was recorded at The Street Scene in Los Angeles, California on October 12, 1980 (this

3552-629: The group: "Thompson extolled the sonic energy of the Jefferson Airplane as it pulsed around the California locales that nursed the psychedelic era..." The bohemian predecessor of the hippie culture in San Francisco was the " Beat Generation " style of coffee houses and bars, whose clientele appreciated literature, a game of chess, music (in the forms of jazz and folk style), modern dance, and traditional crafts and arts like pottery and painting. Acoustic music had had an avid following far and wide, but it

3626-464: The magazine when he died. For ten years he also wrote a syndicated weekly column on jazz and pop music that ran in the New York Post and many other papers throughout the United States and Europe. Gleason's articles also appeared other publications, including The New York Times , The Guardian , The Times , New Statesman , Evergreen Review , The American Scholar , Saturday Review ,

3700-615: The popular Swedish outfit Made in Sweden , joined as lead guitarist around the same time. BS&T released New Blood in September 1972, which found the group moving into a more overtly jazz-fusion direction. The album reached the top 40 on the Billboard chart and spawned a hit single "So Long Dixie", which peaked at number 44. Also included was a version of Herbie Hancock 's " Maiden Voyage ", featuring Wadenius. In January 1973 Katz left to pursue

3774-504: The reality TV show The Voice , was chosen as BS&T's new singer In March 2022 original bassist Jim Fielder guested with the group at a series of shows in Florida. Under the direction of Dorr and Colomby, the band has enjoyed something of a resurgence. Blood, Sweat & Tears donated money through its "Elsie Monica Colomby" music scholarship fund to deserving schools and students who need help in prolonging their musical education, such as

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3848-560: The rights to the Blood Sweat & Tears name, Clayton-Thomas attempted to restart his solo career in 1983 after taking some time off. This caused complications on the road when promoters would book Clayton-Thomas' group and use the Blood, Sweat & Tears name on the marquee. Consequently, his manager Larry Dorr negotiated a licensing deal with Colomby in 1984 for rights to tour with the BS&T name. For 20 years afterwards, Clayton-Thomas toured

3922-466: The rock-scene fan journal, Rolling Stone . The new sound, which melded many musical influences, was perhaps heralded in the live performances of Jefferson Airplane (from 1965 on), who put out an LP record earlier than nearly all the other new bands (August 1966). According to writer Douglas Brinkley, celebrated author Hunter S. Thompson , one of the Bay Area cultural-scene boosters, was a big early fan of

3996-518: The same as the 1993 Silver Anniversary show, with the exception of Will Lee sitting in for Fielder and John Sebastian (ex- Loving Spoonful ) contributing harmonica. Colomby would not allow Kooper to use the name Blood, Sweat & Tears, so the two reunions were billed as "Child Is Father To The Man". This second show appeared as the CD Soul of a Man in 1995. According to page 20 of the CD's liner notes, Steve Katz elected not to allow his performances onto

4070-568: The same bill together again at Gretna Heritage Festival in Gretna, Louisiana on October 5, 2013. From 2013 until 2018, Blood Sweat and Tears was fronted by Bo Bice , who was the runner-up against Carrie Underwood in the fourth season of American Idol . In 2018 the group decided to replace Bice with former Tower of Power singer Tom Bowes, who had previously done a brief stint with BS&T back in July through November 2012. In 2019 Keith Paluso, from

4144-513: The scene. Examples include the Sir Douglas Quintet , whose music took on more of the character of the San Francisco sound, while yet retaining some of its original Texas flavor, Mother Earth , fronted by female lead singer Tracy Nelson , who relocated to the Bay Area from Nashville, and the Electric Flag , bringing Chicago blues to the Bay Area care of former Paul Butterfield Blues Band guitarist Mike Bloomfield . Steve Miller (who formed

4218-523: The summer of 1975, BS&T recorded a live album that was released in Europe and Japan the following year as In Concert . The album was released in the US as Live and Improvised in May 1991. The album featured different guitarists on different nights: Wadenius, Steve Khan and Mike Stern , the last who took over permanently for a time (Jeff Richman filled in for Stern in mid-1976). Jazz percussionist Don Alias

4292-459: The time, some of whom engaged in radical politics. The band was criticized for allowing itself to be co-opted. It is now known that the State Department subtly pressured the group into the tour in exchange for a U.S. residency permit to Clayton-Thomas, who had a criminal record in Canada, and had been deported from the U.S. after overstaying his visa. The tour and its aftermath is the focus of

4366-545: The white bands from the U.S. East Coast (e.g., Blood, Sweat & Tears or Chicago ). Sly & the Family Stone , a San Francisco-based group that got its start in the late 1960s, was an exception, being a racially integrated hippie band with a hefty influence from soul music, hence making use of brass instrumentation. "Rock & roll" was the point of departure for the new music. But well known stars of rock & roll "were being called fifties primitives" by this time. This

4440-485: Was Janis Joplin ." Women, in a few cases, enjoyed an equal status with men as stars in the San Francisco rock scene—but these few instances signaled a shift that has continued in the U.S. music scene. Both Grace Slick (singing with Jefferson Airplane) and Joplin (singing initially with Big Brother & the Holding Company ) gained a substantial following locally and, before long, across the country. Coming of age in

4514-465: Was "a fading world of traditional folk and Brechtian art songs." The entire tone of the new subculture was different. According to biography author Robert Greenfield, "Jon McIntire [manager of the Grateful Dead from the late sixties to the mid-eighties] points out that the great contribution of the hippie culture was this projection of joy. The beatnik thing was black, cynical, and cold." The Beats tended to be cagey, keeping their lives discreet (save for

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4588-426: Was a contributing editor to Ramparts , a prominent leftist magazine based in San Francisco, but quit after editor Warren Hinckle criticized the city's growing hippie population. With Jann Wenner , another Ramparts staffer, Gleason founded the bi-weekly music magazine Rolling Stone , to which he contributed as a consulting editor until his death in 1975. He was in the midst of an acrimonious split with Wenner and

4662-473: Was a regional identity. By 1967, fresh and adventurous improvisation during live performance (which many heard as being epitomized by the Grateful Dead and by the "cross-talk" guitar work of Moby Grape ) was one characteristic of the San Francisco sound. A louder, more prominent role for the electric bass—typically with a melodic or semi-melodic approach, and using a plush, pervasive tone—was another feature. This questing bass quality has been wryly characterized as

4736-579: Was a veteran disc jockey, songwriter, music-act manager, and concert producer (with an associate, he had produced the Beatles’ last show in their final public tour); he was inspired to revive a moribund radio station, KMPX, in early 1967. Donahue, inaugurating the first FM-radio rock station in San Francisco, intended to showcase this new genre of music. He was uniquely qualified, being savvy and enthusiastic about jazz, R&B, Soul, and ethnic music. An important departure in this new era of "album oriented radio" (AOR)

4810-411: Was a widely respected commentator when he began to support several Bay Area rock bands, including Jefferson Airplane and the Grateful Dead , in the late 1960s. Although Gleason was sometimes criticized for minimizing the importance of or simply ignoring acts from Los Angeles , others judged that he was making a valid distinction between works of creative vitality and music business product. Gleason

4884-509: Was added on trombone. The new nine-member band debuted at New York's Cafe Au Go Go on June 18, 1968, beginning a two-week residency. The self-titled second album, Blood, Sweat & Tears , was produced by Guercio and much of the album was arranged by Lipsius. It featured fewer original songs but greater chart success. It included Nyro's "And When I Die", "You've Made Me So Very Happy" by Berry Gordy and Brenda Holloway , and Clayton-Thomas' "Spinning Wheel". The band enjoyed headliner status at

4958-479: Was also present for the live album. After recording, Giorgianni left and was replaced by Forrest Buchtel (formerly of Woody Herman 's band). Around the same time, Colomby discovered a talented bass player by the name of Jaco Pastorius in Florida. He produced Pastorius' first solo album which was released in the spring of 1976. In late 1975, Pastorius toured with BS&T subbing for Ron McClure and when McClure left in early 1976, Colomby arranged for Pastorius to join

5032-426: Was an American music critic and columnist. He contributed for many years to the San Francisco Chronicle , was a founding editor of Rolling Stone magazine, and cofounder of the Monterey Jazz Festival . A pioneering jazz and rock critic, he helped the San Francisco Chronicle transition into the rock era. Ralph Joseph Gleason was born in New York City on March 1, 1917. Gleason discovered jazz when, during

5106-452: Was co-produced by Colomby, but his direct involvement with the group ceased after this release. Colomby was by this point the sole owner of the BS&T trademark name. Brand New Day garnered positive reviews but slow sales. At this same time BS&T were said to be recording tracks for an instrumental album with a personnel of Tony Klatka, Forrest Buchtel, Dave Bargeron, Bill Tillman, Larry Willis, Danny Trifan, Roy McCurdy and Mike Stern, but

5180-450: Was eventually released as Live in February 1995). Robert and David Piltch left shortly before this concert, as did Richard Martinez. They were replaced by Wayne Pedzwiatr on bass, Peter Harris on guitar and Lou Pomanti on keyboards. And Mic Gillette (from Tower of Power ) replaced Cassidy on trumpet at the tail end of 1980. Following more touring, including Australia, this incarnation of the group disbanded in 1981. Since he did not own

5254-475: Was not removed from the program. Ultimately, concert organizers were able to force the event forward via judicial injunction. The litigation reached the United States Supreme Court. In July 1976 More Than Ever , produced by Bob James and featuring guest vocals by Patti Austin and appearances by a host of NYC session players, including pianist Richard Tee , guitarists Eric Gale and Hugh McCracken , trumpeter Jon Faddis and Eric Weissberg (banjo, dobro),

5328-410: Was released but sold disappointingly. After it stalled at US No. 165, Columbia Records dropped the band. At this time Colomby, BS&T's sole remaining original member, stopped touring with the group and Don Alias assumed sole percussion duties before leaving as well to make way for Roy McCurdy. In 1977, BS&T signed with ABC Records and began working on Brand New Day (November 1977). The album

5402-449: Was that show hosts felt free to play lengthy tracks or two or more tracks at a stretch from a good record album. According to cultural anthropologist Micaela di Leonardo, the San Francisco music scene was "a workshop for progressive soul ", with the radio station KDIA in particular playing a role in showcasing the music of acts like Sly and the Family Stone. Ralph J. Gleason Ralph Joseph Gleason (March 1, 1917 – June 3, 1975)

5476-509: Was the period when "rock" was differentiating itself from rock & roll, partly due to the upshot of the British Invasion . Among these British acts, according to music journalist Chris Smith, writing in his book on the most influential albums in American popular music , the Beatles inspired the emergence of the San Francisco psychedelic scene following their incorporation of folk rock on

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