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Wes Montgomery & Dexter Gordon

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Joined: 27 Nov 2006
Posts: 1

PostPosted: Mon Nov 27, 2006 10:20 pm    Post subject: Wes Montgomery & Dexter Gordon Reply with quote

November 27, 2006

Re: Wes Montgomery and Dexter Gordon Progressive Jazz

My sister and brothers and I would love to retrieve a copy of music that includes our Dad, John Webster Tinsey, a progressive jazz saxophonist, accompanying Mr. Wes Montgomery and/or Mr. Dexter Gordon (Long Tall Dexter) on a few jazz sessions years ago. A lead to follow in order to obtain/purchase this recording would be great as well.

I recently had to write my Dad’s Obituary. At this time is when we found out that Mr. Montgomery and Mr. Gordon were two of the infamous jazz artists with whom our Dad, a Chicago progressive jazz saxophonist, played. John W. Tinsey was also known as JW or W.

We are so hoping that someone might have a taping of some music that includes Dad playing his sax with one of these two Greats or might be able to contact Mr. Wes’s brothers, Buddy and/or Monk. You see we were very young when our parents separated and therefore, never got to hear him play. This is something we would definitely change if we had the chance to do it over again. We’d love that opportunity to hear him play now and want to share that with our kids.

If anyone in fact does have recordings, may we purchase a copy(s)? Let me know the total cost with the shipping included. We will be more than ecstatic to either pay or reimburse you for your time, effort and expenses. If none of you are in possession of these recordings, we would gladly take a lead or contact information.

Thanks so much in advance for the your assistance…Please reply to this posting.


John’s Kids
daughter to John Webster Tinsey "JW" or "W",
Chicago Progressive Jazz Saxophonist,
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Joined: 25 May 2005
Posts: 1258
Location: Sacramento

PostPosted: Sun Dec 03, 2006 10:43 pm    Post subject: Reply with quote

It's a shame that you don't have further information, here's a link to Wes Montgomerys' GrandSon, I think it's his Grandson. At any rate my feeling would be that both Dexter and Wes played with a whole lot of great musicians. Good luck with your search. later
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dewey decibel

Joined: 15 Feb 2006
Posts: 1677

PostPosted: Mon Dec 04, 2006 2:13 am    Post subject: Reply with quote

Here's a link to a pretty comprehensive discography website:

I searched Wes's and Dex's catalogs and didn't see anything. It's possible someone taped a club date or jam, but that would be really hard to find. I might be able to get Buddy's number for you, and I'll ask some of the guys I know that were around then if they remember him.
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dewey decibel

Joined: 15 Feb 2006
Posts: 1677

PostPosted: Mon Dec 04, 2006 2:49 am    Post subject: Reply with quote

Well I did some online digging and came across an article that states he played a Charlie Parker Memorial Concert with Gene Shaw. I looked for Gene Shaw's records (he has a couple on Arco) but he isn't listed on any of them. He's also not listed in Tom Lord's Jazz discography page.

I'll paste the article here:

Caught in the act:
Charlie Parker Memorial Concert
Sutherland Lounge

By Welding

Gene Shaw Quintet Shaw, trumpet; John Tinsey, tenor saxophone; Jim Taylor, piano; Sidney Robinson, bass; Denny Cook, drums.
Joe Daley Trio Daley, tenor saxophone; Russell Thorne, bass; Hal Russell, drums.
Dodo Marmarosa Trio Marmarosa, piano; Thorne; Russell.
Roland Kirk Quartet Kirk, tenor saxophone, strich, manzello, flute; Richard Abrams, piano; Robinson; Gerald Donovan, drums.

It was a night for debt-paying. Under the aegis of Joe Segal, three wholly local groups and a pickup unit under the leadership of multi- instrumentalist Roland Kirk (who came in from Detroit) gathered on the eighth anniversary of Charlie Parker's death to render homage to him. It was the eighth such memorial program organized by Segal and must surely rank as one of the most provocative and stimulating recent jazz events in Chicago.

The music, at any rate, was greatly varied and of an extraordinarily high caliber.

The program was led off by the quintet of trumpeter Shaw, a thoughtful, deliberate player who shapes his solos with sensitivity and logic. He possesses speed and facility but uses them with marked restraint, preferring to understate. His was the group's dominant voice, and the air of quiet, resolute intensity he dispelled was thrown into sharp relief by the lunging, bullying work of Tinsey?a full-toned, wide-open tenorist with that harsh-edged, dolorous sound currently so favored.

Taylor, a pianist who sings out spare, lithe lines with a light springy feel to them, occasionally came up with a wry, epigrammatic statement, as on his solo on Now's the Time, a number that was further heightened by Shaw's bittersweet, poignant playing. The trumpeter's more humorous side came out on What Is This Thing Called Love? in which his capering solo was followed by the assertive Tinsey, who got lost in the changes before the end of his solo.

Certainly the most daringly experimental playing was that of the Daley trio. In three extended numbers, this group played with unflagging excitement, spurred by the jabbing, darting tenor of the leader, the phenomenal bass work of Thorne, and Russell's drumming.

The trio is perhaps the city's foremost "new thing" group?and the three men make it work most of the time, though I found Thorne's composition Helicon #7 ("What's a helicon?" Daley asked the bassist in an aside), which might be described as a 'tone poem' for iconoclasts, rather disjunctive and pointless, though rhythmically exciting.

Parker's Dexterity had the tenor and bass stating the theme in unison, before the saxist explored the tune at length. Daley is more a harmonic than melodic player, and on a piece like this, he was much more effective than on the Ornette Coleman blues, Rambling, that followed.

Thorne is a stunning bassist?fleet, darting single-note lines alternated with plucked and strummed chords, moving octaves, and a knowing use of rests. He bears watching, as does this whole group.

In his four numbers, pianist Marmarosa was a trifle disappointing. Not that he played badly, but just that nothing of any great moment took place in the course of his explorations. (I understand he played much better later in the evening.)

Hardly hampered by a pickup group that had some trouble keeping up with him, Kirk proved the hit of the evening. Kirk was well aware of the nature of the program and offered a number of tunes associated with Parker; his strich solos on a "Parker medley" (Star Eyes, They Can't Take That Away from Me, and a fantastically up-tempoed Lover) were eerily reminiscent of Bird's sound and phrasing without being at all imitative.

Elsewhere Kirk demonstrated for all to hear that he is very much his own man and a hell of a musician. His Three for the Festival, the theme of which employs all his horns, was a fine showcase for his flute, but the other flute piece, Everything Happens to Me, was somewhat marred by trouble with the rhythm section. His Blues for Alice (a Parker tune) was a powerfully driving performance that never once let up.

I got this from another dicussion site, so I don't know how reliable it is. I'm afraid contacting Gene Shaw is out of the question, as he's passed on, but maybe look up some of the other players from this date? Good luck!
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