I know tenor is cool, but when an alto is mastered like this, there's just nothing like it!

RIP Richie Cole, Alto saxophonist par excellence.

Bobby & Richie R.I. P. in the eternal light of forever jam session! You showed us how to get it done! never forget you...never!

Rest in eternal light Richie Cole!!

Holy shit.... Sometimes I feel like I'm an excellent saxophonist...... and then I listen to stuff like this. Amazing.

What a brilliant band, musicians to the core. Always make me feel life is great after listening to this.

I first met/played with Richie at Berklee in the Dues Band and then way later upstate NY in a couple jazz casuals. Richie was just the same on the gig as on stage, swing’n’ brilliantly hip and a great guy.

Bobby Enriquez with a block chord quote from "Laura" at 4:10. Nice.

Thanks for sharing this Ben, Richie was a wonderful, great ,person talented and selfless. His Alto Madness Orchestra was a joy to work with as I did with Richie in Berlin, Madrid ,Barcelona Trenton and San Diego My Life was enriched by the experience.. Never to forget Richie Cole.

the late Bobby Enriquez proving why is was one of the world's best !

Reliving my youth via YT! I saw Richie at a sunny Capitol Jazz Festival in 1981 and he created an impression. On the same bill were Muddy Waters, Chuck Berry and the very great Ella Fitzgerald.

The Wild Man! Bobby Enriquez.

I was just went on Google and discovered that Ritchie Cole passed on and I came across this video. I watched this in 1982 and never again and all the years I have been wondering wht happened to the pianist the guy blew me away back then. Ritchie was my main man but the pianist wow

Awesome RIP Richie!

Definetly Bobby Enriquez was a Hell of a Pianist ! Amazing Solos Spectacular Chords, as I read he was in Honolulu for a while playing with Don Ho s Band! I m gonna miss his playing and Charisma!!I had the opportunity to listen Bruce Forman in Carmel Ca, playing an evening at a sessión sponsored by KRML sharing charts with Charlie Shoemake, former George Shearing vibe player, was such a wonderful Jamming night !! Best Regards from Guatemala!! Tks for posting!!

Legendary Concert! Bobby Enriquez WoooW Men

I saw this band in Ronnie Scott's club in 1981, they were fabulous

HOLY CRAP!!! Man, I gotta play this AGAIN! The energy is outasight! I think I dropped 3 lbs. just watching and listening. . .

One of the best opening jams followed by velvety ballad then a nicety blues!

One of the best sets I have ever heard in all my 71 years. Thanks to the forces that decided to record this almost 40 year old classic - they must have know something special was about to go down !!! How much great unrecorded Jazz has been played once and heard no more? Such is life.

Richie Cole is still playing in Vegas where I live going to have to check out one of his shows. Legend.

First heard of him on jazz 88 WBGO in Newark NJ on a show called”Bebop city “

I saw and recorded the band at the Nice jazz festival. Great evening.

The birth of cool JAZZ

Bobby Enriquez..., WOW!

Burning group! All hot traveling to the ultimate in jazz

Awesome quintet!

Bobby, you’re music live on...

um dos meu videos favoritos

Bruce Forman!

最高。文句なし良い。冒頭のギターがはっきり捉えられる。

Great set. Thanks Ben.

Bobby hitting keys like it's percussion

crack! crack!! De lo mejor.

WOW wow an more WOW!!!

Great players, but I have to make special mention about the pianist. He is a really FUN player to listen to! Crazy skills :D Thank you so much for this upload!

Richie Cole un grande del saxo alto en el Jazz.

Thank you, Mr. Ben Sidran for posting this. Bobby Enriquez is a friend of my dad.

Super!

Valeu cada centavo do ingresso.

18:58, esa sonrisa vale oro! 🤜🤛🏽

I have been listening to jazz my entire life and am somehow stumbling into Richie Cole. I hear a TON of Bobby Watson in his playing, or perhaps it is the other way around. Any connection between the two?

ライブ版のアライブとは別のテイクですね。アルトマッドネス最高。

I love the open-mindedness shown in the comments below.

That line at 14:07... wahhhhh!!!

21:22 yardbird suite

Is.that.bruce.foreman.on.guitar.lve.seen.him.play.years.latter.new.zealand.ive.meet.him.nice.dude

Wikipedia says that Max Gordon died in 1978 :/ Either the title or the wiki is wrong.

please name of the first piece ? name of the bass player ? drummer ?

What, no 'Island Breeze'?

🙂🌳

Marshall Hawkins on Bass

yeah yeah

the name of list please my friend

Richie could play anything, as I discovered when he played a live set with scorching guitar wizard George Pritchett. He was a brilliant musician and a showman unafraid to match ideas and technique with other alto giants--incl. Sonny Stitt (impressively close); Phil Woods (high speed race--more smoke than fire); Art Pepper (an easy win for Richie). With the uniquely gifted Enriquez, this Vanguard session is a mismatch of styles but Richie makes it work (except for overly serious bebop purists).

what is last song name？

Disrespectful, Ben, to credit yourself as "producer" and not credit the musicians: Marshall Hawkins and Scott Morris.

The difference between Bobby Enriquez and Cecil Taylor is, first of all, that Enriquez is a real jazzman and Taylor is not; and that Bobby’s effects have a communicative purpose and Cecil’s are just effects with no meaning at all.

Bobby Enriquez was a "lounge musician" discovered by Richie in Hawaii. He went on to receive much praise from followers and critics. Not the most subtle pianist (he'll never make you throw away your Bill Evans' Vanguard sides), but he's a show unto himself. Combination pianist and karrate artist. Yikes. I like Bobby's pianistic athleticism, but he's got to learn how to cool down and be supportive when he's not soloing. It simply doesn't work if he's soloing behind everyone else's solo. This band would go from "Hi Fly" to "Peg of My Heart," and Richie saw nothing unusual about the shift (or about his making a record with Boots "Yakety Sax" Randolph). But when Richie programs arguably Bird's best composition, "Confirmation," as a "carnival showpiece" for his "unusual" piano player, he's taking a huge risk. I hope that Max or Lorraine Gordon asked him back to the Village Vanguard (the Shrine in which Bill Evans and Scottie LaFaro recorded the rightly revered sessions of June 25, 1961). It doesn't take a "purist" or a "snob" (W. Marsalis is often characterized as such--unfairly, imo)--to have respect for the "jazz tradition," without which there would be no indigenous American art form. It would all be random "entertainment," played by guys scattered on any available bandstand or stage and having no relation to each other let alone a body of creative work. The tradition isn't "sacred": it's necessary! Without the Great American Songbook (Berlin, Kern, Gershwin, Ellington, Strayhorn, Arlen, Rodgers, Van Heusen) and without the geniuses who have worked primarily with that repertoire (the reason that authentic jazz musicians from all corners of the world can get together and play an impromptu, coherent session with no rehearsals--perhaps not even introductions), the music would have no shape, structure, history or "meaning." Miles always pretended to be indifferent to the past--part of the allure of his persona as the ever-elusive "Prince of Darkness"--but as we found out at the end, he was fully aware of the tradition and his place in it. In the last years of his life, he returned to revisit and reprise some of the material he had recorded with Gil Evans in the 1950s (without an electric pick-up drilled into the horn, or wah wah pedals, or funny clothing and outsized sunglasses), and he was responsible for the late fame that came to Shirley Horn, the Washington D. C. pianist who had worked the Songbook for decades, but quietly and locally. The result was "Here's to Life," perhaps the most glorious, profoundly beautiful album of ballads to follow the Sinatra-Riddle collaborations on Capitol and the Hartman-Coltrane album on Impulse. As sung and played by Horn in the context of a large orchestra arranged by Johnny Mandel, these old chestuts took on new life while erasing from memory the disco-frenzied 1970s. Miles was the one who called Shirley to NYC, just as it was Miles who would make the jazz world aware of the beauty of the playing of Bill Evans and Ahmad Jamal (both had been dismissed as "cocktail pianists" before acquiring the Miles' seal of approval). And you had better believe that, with every note that he played, Miles was fully conscious of his indebtedness to Louis, the father of this late, original music that sprung to life from Louis' horn beginning in the latter half of the 1920s. These players all came out of the tradition of Louis, then Hawk, then Prez, then Bird and Bud Powell, then Coltrane and Bill Evans. Some players (e.g. Ornette) were so counter to the music that they were "suspect" as frauds until they first proved their respect for the tradition whose rules they had consciously and purposefully set out to change. But I'm afraid that Enriquez' performance of Charlie Parker's "Confirmation" doesn't represent an "advance" or even a "break" from the tradition. It's little more than an "off-the-walls" oddity: a pianist who "karate chops" the keys while showing how "Confirmation" might have sounded if played by a fast and loose, maybe inebriated, barrel-house piano player. It's an anamoly, a musical freak show. That sort of performance of a truly classic jazz standard composed by an indisputable genius (Charlie Parker) could easily have offended many "more experienced" ears, including the owners of the world's oldest jazz club. Notice how tense the rhythm section is while trying to "locate", and then keep up with, Bobby's wild beat. It's neither free jazz nor straightahead 4/4 walking bass "swing." It's strictly "Bobby's thing"--which is not to take anything away from him as a supremely unorthodox talent. But on this tune especially, that talent seems as ill-fitted as assigning Sidney Bechet or John Coltrane to the double-reed solo in Tchaikowsky's "Swan Lake." It's usually unwise to attempt to "jazz up" any music--be it classical or pop--and nothing is more ill-advised than to jazz up jazz. The result inevitably comes off as parody--not as individual expression or creativity. After hearing everyone from Bird and Miles to Max and Clifford to Tony Williams and Hank Jones play "Confirmation," each finding original melodies and chord voicings, Enriquez' rampaging on the tune isn't even "inventive" (being "original" requires a "standard" of measurement). It might be perceived as funny only to someone who had a grudge against Bird personally (he borrowed money and equipment often; he repaid only through his music) or bebop in general (initially, the masters of Swing hated this new music, but that animosity was ended in 1959, when Miles invited Bill Evans back to play modal jazz on an album called "Kind of Blue"--it opened a new door, and more than 60 years later it still appears as the best-selling jazz album--primarily because it represented the resilience and vibrancy of an artistic tradition that, while historic in its development, is timeless in its playing and replaying.