The Acknowledgement Suite featuring Dwight Adams - trumpet/flugelhorn, Wendell Harrison - clarinet, Stéphane Payen and Roman Filiu - alto sax, Jean Toussaint - tenor sax, Dick Griffin - trombone, Kirk Lightsey - piano, Aaron James - bass, Howard Curtis - drums and Doug, conducting and playing drums on "It's Now" and "Lights"
This was made possible through funding from the European Union Cultural Capital City 2009 (Peter Androsch), Linz, Austria and the INNtoene Jazz Festival (Paul Zauner) in Diersbach, Austria.
Live recording by the ORF Austrian Radio (Hubert Havel)
Mixed by Doug Hammond
Engineered by Christoph Kapfer
Cover design by Rudolf E. Mitter
Doug travelled to New York City, Tampa, Florida and Detroit to compose this music, and did the finishing touches on it in his studio in Karlovy Vary, Czech Republic.
ACKNOWLEDGEMENT SUITE
1. ZEEK
To Ernest "Zeek" Vann, an alto saxophonist in Tampa, Florida who corroborated with Mr. Thomas Simpson, Hammond's band director at Blake High School, watching over and guiding the career of the enthusiastic young drummer. He was always a help for Hammond throughout the years whenever he returned home to visit.
2. ERNIE CAL
To Ernest Calhoun, a tenor saxophonist and friend of Zeek, who was a great balladeer with a big and wonderful sound.
3. STEPPIN'
To Fletcher Davis, the most modern tenor saxophonist in Tampa in the 50s and 60s. He was Hammond's best teacher and trainer in jazz and protocol. Respect was always the first principle according to Davis. He suggested for Hammond to go to Detroit to prepare for New York City. His advice was followed.
4. ROSE; SISTER
For my mother, Rose, who always supported my efforts in whatever I endeavored. Though Hammond was always one of the 3 best math students throughout school, a career as a musician was his aim, and Rose supported him all the way. Everyone called her “Sister,” because she was always helpful to all, and especially to the children. The first 3 of her 9 children called her “Sister” as well. Doug began calling her “Mama” at age 35. She liked that.
5. IT'S NOW
To Lester McCray, my first drum teacher of blues and jazz in Tampa. To drummers Bill Brown, Bill Peeples, Turnip Greens and Archie Taylor, who taught Hammond to respect all playing jobs and to always do the best for the music, whatever style it might be. Again, respect is the first principle.
6. LIGHTS
To Kirk Lightsey, who invited Hammond to Detroit to perform with his trio with James Hankins. He always supported Hammond's compositional efforts with the help of Leon Henderson, Joe Henderson's brother. Kirk formed INSTAGE, a Detroit musicians’ collective, with the help of George Bohannon and his wife. It was a precursor to The Detroit Creative Musicians Association.
7. MYSTERY'S CHILD
To Julian Priester, the great trombonist Hammond remembered from the inspiring recordings of Max Roach and Booker Little. He helped Hammond during his first period in New York City, giving him cues to what it was really about being a musician in the city. He got much from Priester by observing his manner and approach as a person and the answers to many, many questions Hammond would ask him. Again, respect remains the first principle.
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