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Sheller is most noted as the trumpet on Mongo Santamaria’s recording of Hancock’s “Watermelon Man”. Īdditional trumpeters Martin Sheller and Melvin Lastie enhance Terry’s horn with their added harmonies. Tate shared drumming duties with Bruno Carr, a member of Aretha Franklin’s and Ray Charles’ bands as well as a player on soul jazz legend Lou Donaldson’s Cole Slaw LP. His intuitive playing and tendency to interpret and blend various genres and styles of music tastefully must have made him irresistible to Pike and begs the question why he is only on half the tracks. Tate’s sharp yet understated style of drumming is a defining element in the development and evolution of hard bop and soul jazz in particular. Terry would eventually go on to perform in the Tonight Show with Johnny Carson house band.Īnother future member of the Tonight Show band, drummer Grady Tate plays on four of the eight tracks. Clark Terry was an established world class jazz artist who had played with the likes of Basie and Ellington in the ’40s and ’50s and whose influence can be heard in Miles Davis and Quincy Jones’ works. His style of guitar was a subtle mix of rhythm & blues backbeats and clean laid back jazz guitar, creating the template for future R&B guitarists. Of the remaining core players, Butler rose to prominence in the 1950s with Bill Dogget on tracks like “Honky Tonk” (which he co-wrote) and “Ram-Bunk-Shush”. This recording session was unique in that Pike plays the marimba exclusively and this marked the debut of Hancock on organ, an instrument he would rarely revisit in the future. The rotating players were Martin Sheller and Melvin Lastie on trumpet, Bruno Carr and Grady Tate on drums, and Bob Cranshaw and Jimmy Lewis on bass.

Both lineups had a core of Pike, Herbie Hancock, Billy Butler on guitar, and Clark Terry on trumpet appearing on all eight tracks. Effectively two bands were used in recording Jazz for the Jet Set.

The music inside provides a soundtrack to a world we only have access to via films of the day.Ī who’s who of sidemen from R&B and soul jazz comprised the list of players on this session. The album cover aptly features an attractive model adorned in the 1966 Pan-Am stewardess uniform with a space helmet (appropriate for the Space Age fads of the time). On Jazz for the Jet Set, vibraphonist Pike and an all-star lineup produced an album that might be thought of in hindsight as a synopsis of an overly romanticized era. Here was a perfect and complimentary blend of jazz, Latin, soul and R&B.Ītlantic Records sought to capitalize on this hip sound and image with artists like Dave Pike. With his 1966 debut for Atlantic, Jazz for the Jet Set, Pike had his finger on the pulse of American music. Through his time in New York and work with Mann, Pike was able to score a recording contract with Atlantic Records. During the early to mid ’60s, after returning to New York from California and joining up with flautist Herbie Mann, he electrified his vibes and began exploring the Latin rhythms percolating throughout the city. Noted more as a sideman who had worked with Carl Perkins, Paul Bley, and Dexter Gordon among others, Pike never gained much fame on his own. Originally a drummer, Pike became one of the most consistent vibraphone players in jazz. One such artist was jazz vibraphonist Dave Pike. First developed as a Nuyorican sound of Latin rhythms, soul and R&B, many popular jazz artists of the day found themselves gravitating towards it. By the mid ’60s the sound of boogaloo had become very popular with the dance crowds. As it did, it also evolved into a hipper sound. A carry over from the coffee houses, jazz had migrated into the penthouses and bachelor pads of the city dwelling hipsters. The music more often than not was related to jazz. The alcohol flowed, cigarettes burned, and the music always swung. The men were slick, sharply dressed, and talking the fast hip lingo. The women were beautiful, glamorous, and sexually available. The Jet Set was a carry over from the Café Culture of the ∕0s and first popularized in such films as Fellini’s La Dolce Vita (1960) and Edward’s Breakfast at Tiffany’s (1961). In much the same way hippies can be an iconic symbol of the late ’60s, the early ’60s might be represented by the world of the Jet Set.