Rich Lamanna and The Last Word

Biography 

The seminal event in my life was hearing John Coltrane’s solo on giant steps, recorded in 1960. I had been playing saxophone for several years by then, but it was around 1973 when I first heard that colossal performance. At 16 years old I promised to myself, I would figure out how he accomplished that level of virtuosity and would strive to achieve the same, with only a basic understanding of music theory and a novice ability to read music and perform.

Torn between music and fine arts, I chose the latter, applying to the New York state college of ceramics at Alfred University. I could also pursue my musical interests at Alfred as well, with a minor in music theory. I found myself practicing sax more than studying art history and it was at Alfred that I was introduced to the arranger and trumpet player John LaBarbara, an alumni of the Buddy Rich Big Band, whose works have been recorded and/or performed by Buddy Rich, Woody Herman, Count Basie, Dizzy Gillespie and many others. John was offering a course in big band arranging, I signed up. 

Gravitating more towards Jazz performance and writing, my interest in pottery and fine arts was becoming comparatively less interesting and important. John LaBarbera, a giant who I respected, recommended Berklee College of music. The course was set. 

In 1977 and began attending Berklee the Fall semester. There I was fortunate to study with Joe Viola, (also Mike Brecker’s instructor), Andy McGee,  Mike Metheny and George Garzone. Also, a member of the Phil Wilson International Dues Band and Herb Pomeroy’s Recording Band; I was schooled in playing with big bands in a recording environment. In addition to improvisation and performance; I rounded out my studies with harmonic analysis, solfege, composition and arranging courses under Ted Pease and scoring for commercial orchestra with Bob Chestnut. Wile at Berklee I traveled to South America and performed with Peruvian bassist Oscar Stagnaro and the 60 piece Contemporary Orchestra of Peru in Lima, directed by Jamie Delgado Aparicio.

In the Summer of 1979, I relocated to New York City, sitting in on jam sessions and performing in any venue I could find. Returning to Boston for the fall semester, I completed my degree. During this time, I continued to perform with my quartet and quintet, with Joe Cohn, Ricardo Silviera, Jay Azzolina, Neil Tufano, Armon Donelian, Gary Dial, Ratzo Harris and other musicians.

After graduating Berklee I worked for Costa Cruise Lines, as musical director for the ships Orchestra, on the seas for 2 years. Coincidently while docked in Port Everglades, Fort Lauderdale, I attended Jaco Pastorius’ Birthday Concert at Mr. Pip’s, with steel drummer Othello Molineaux, Micheal Brecker, Bobby Mintzer and Peter Erskine perform with the Peter Graves Orchestra led by Jaco.

Disembarking in Caracas, Venezuela to explore the music scene and opportunities, I met with the director of Sono Rodven Records, {Venezuelan subsidiary of Velvet Records). It didn’t take long to find a jam session at the Juan Sebastian Bar, the premier jazz club in the city. I sat in for a set and was astonished when offered the gig for two weeks. 

While in Caracas I met the young talented pianist, Otmaro Ruiz and was recruited to play in his fusion jazz project. Through Otmaro I was introduced years later to Peruvian percussionist Alex Neciosup Acuña, of Weather Report fame. After my tourist visa expired, I returned to Boston and was offered of a scholarship as a member of the Conservatory’s Medium Rare Big Band. I was accepted; however, the scholarship money would become unavailable. Pushing ahead I had the opportunity to study with Phil Woods who thought I’d be a good fit for Tito Puente’s group. As fate would have it, I needed a steady gig and went on the road with an R&B group instead and performed in various combos during those years.

In 1993, the 'New Eden Jazz Quartet' was hatched with Dan Dobek, Paul Othon and Chris Garabedian. Together we performed at local venues including Justin’s and The Van Dyck, the Lake George, Cool Jazz and Albany Jazz Festivals. In addition, I performed with my quartet, consisting of Chuck D’Aloia, Otto Gardner and Dave Calarco. During this time in Schenectady, I begin to assemble my recording studio, MANA Productions, which later became VeryDeep Productions. 

While attending a Larry Coryell concert at the Van Dyck, I had the opportunity to meet the kinetic Kenwood Dennard who I recruited for a recording project. In search of a steel drummer Kenwood introduced me to Trinidadian Othello Molineaux. For keyboards I contacted my Venezuelan friend Otmaro Ruiz and in need of a percussionist, Otmaro introduced me to Alex Acuna. It was a strange coincidence to me, that all three musicians: Kenwood, Alex and Othello had all played with Jaco Pastorius, either in Word-Of-Mouth or Weather Report. The recording “Introspective”, was released April 2000, with a performance at the Van Dyck, featuring Othello Molineux and Alex Acuña performing with a collection of local musicians. 

Several other performances followed with my quartet with collaborations at the Van Dyck and other venues in upstate New York. Around this time, I began to develop issues with my embouchure, manifesting as uncontrollable tremors after short periods of practicing or performing. I was diagnosed with a specific form of dystonia, embouchure dystonia, a focal task syndrome, affecting approximately 1% of musicians. Losing my ability to perform on the saxophone was devastating. Searching, I found an alternative mode of performance, a MIDI instrument, the Synthophone, essentially a midi controller installed into a Selmer saxophone. It was hardly a replacement for the natural acoustics and personal connection I had with the saxophone, but it was the only alternative to perform live. I also took up the steel pan, studying with Leroy Williams. Leroy and Othello Molineaux both recorded on ‘Opus Pocus' on Jaco’s debut album.

In 2004 I recorded my Second CD and first Synthophone recording, “Rich Lamanna and The Last Word, Live at the Van Dyck”. It featured Kenwood Dennard, Chuck D’Aloia, Otto Gardner. Later that year at the Montréal Jazz Festival, Kenwood was performing with Gil Evans’ Tribute Band. I was invited to sit in with Dennis Chambers, George Benson, Roy Hargrove and other world class musicians at a jam session.

In 2009 Othello Molineaux was performing with his group at Lincoln Center. We organized a follow up performance at the Van Dyck. The rhythm section included Manolo Badrena, Andrew Atkinson, Silvano Monasterios and Nicky Orta.

I began producing my third cd, “Views“ in 2015, a monumental project. The material was a handful of compositions I had been sitting on for at least two decades, I wasn’t sure I could ever produce, due to the complex orchestration including a string section, French horns, steel drums, harmonica, Hammond organ, vocals and concertina. But it finally came together after three years. At the time of recording, I organized a concert with Manolo Badrena and Othello Molineaux, again at the Van Dyck. 

For the string section I recruited Bob Cafaro, from the Philadelphia Orchestra. Bob had been subcontracting string sections for NFL films in New York City and organized a quartet from the Philadelphia Orchestra for my project. In total there are 17 musicians on the recording, including Alex Acuna, Manolo Badrena, Othello Molineaux, Dave Calarco, Nicky Orta, Otto Gardner, Jack Kulp, Scott Kinsey, Dan Dobek, Jason Rogers, Chuck D’Aloia, Becky Sutter, the string section and myself. The bulk of the project was recorded, mixed and produced at Verydeep Productions, my recording studio.