The New York Times
Larry Vuckovich Trio: West End Cafe
2911 Broadway, at 114 St.
The Yugoslavian pianist Larry Vuckovich is a fleet-fingered
beboper who can also play sultry, big-chorded blues. His repertoire
includes both standards and more modern compositions, among them his
own pieces, which reveal his Balkan heritage. Mr. Vuckovich's current
trio features Mel Lewis on drums, in a different context from his
well-known big band.
Larry Vuckovich, pano
Joshua Breakstone, guitar
Dennis Irwin, bass
Mel Lewis, drums
The Village Voice
West End Cafe
The Balkan bopper has a trio with Mel Lewis, and a book of
piano gems that will keep you guessing.
The New York Times
Quintet, Village Vanguard, 178
Seventh Avenue South, at 11th Street. Like the be-bop pioneers who
shaped his playing, the alto saxophonist Charles McPherson can breeze
through the trickiest of harmonies and invent chorus after chorus of
smoothly phrased melody, all in a tone that seems as casual as a
weekend stroll. For his current engagement, he has a promising quintet,
with the trombonist Curtis Fuller, the bassist David Williams, the
drummer Billy Higgins, and the pianist Larry Vuckovich. Mr.
McPherson and Mr. Vuckovich work together on the pianist's new album
"Blues for Red" (Hot House Import).
Quotes.... What they're saying about Larry
Don Byas -
Vuckovich worked with me tonight and he is something else" (Don
Byas speaking to Quincy Jones at the Montmartre Club, 1963 Copenhagen)
Mel Torme -
"I had some great accompanists, but
this guy (Larry Vuckovich) is like radar. I want him for the next
Monterey Jazz Festival." (Mel Torme speaking to
Jimmy Lyons at the Safari Room engagement in San Jose, 1963)
Charlie Haden -
"Larry Vuckovich is an original voice
on the piano. He plays with a lot of creative depth and feeling."
Tom Harrell -
"Larry really inspires
musicians to give of themselves when they play with him. He has that
effect on me."
Charles McPherson -
"Larry Vuckovich is a
contemporary piano player because he uses devices that musicians use
today, but he still has a firm understanding and respect for
traditional jazz. When you put all those things together, you get a