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During his career he played and recorded with Woody Herman, Herb Pomeroy, Kenny Clarke, Charlie Parker, Charles Mingus, Lester Young, Dizzy Gillespie, Miles Davis, Buddy Rich, Max Roach, Fats Navarro, Oscar Pettiford, Lennie Tristano and Gunther Schuller. Sarasota, FL, May 12, 2004) a world class musician (all the reeds), arranger, composer and educator. The second, “Concertina for Clarinet,” shows his talent as a composer.John D. The first is “Darn That Dream,” a vehicle for his clarinet playing, as well as Jack Reilly’s dreamy piano. Here are two examples of LaPorta’s music. He also published his autobiography, Playing It By Ear, in 2001. He returned to the recording studio in later years, with Life Cycle in 1999, and I Remember Woody in 2002. Saxophonist and former student Jimmy Derba was alongside in both the Mosher–Fontaine and Pomeroy bands when Derba died suddenly in 1981, LaPorta composed “Jimmy D’s Soliloquy” in his honor, and later recorded it with Winter. He organized two 1970s quintets with Dean Earl, played in Herb Pomeroy’s late ‘70s/early ‘80s big band, and worked and recorded in a duo with pianist Bob Winter. He was part of the Jimmy Mosher–Paul Fontaine big band in the late 1960s. LaPorta didn’t stop playing when he joined the Berklee faculty, although his focus was local. LaPorta and Joe Viola founded the Berklee Faculty Saxophone Quartet, which roamed across the musical landscape for its material.
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He could get music out of three stones and a corn cob.” John was magnificent with lower-level kids. Said another faculty member of LaPorta’s achievement: “John knew how to take a bunch of kids who had music in them and go forward with that. At Berklee, LaPorta created and directed the Instrumental Performance Department, which was Berklee’s “reach your potential” program. Given his background as a composer and his ability to step between the jazz and classical worlds, LaPorta was a stellar addition to a Berklee jazz faculty that already included Herb Pomeroy, Ray Santisi, Alan Dawson, and Dean Earl. He was part of the third stream movement at its start in 1957, with Gunther Schuller, George Russell, and Jimmy Guiffre. LaPorta was also deeply involved in classical music, performing with Stokowski and Bernstein. His 1950s recordings on the Debut and Fantasy labels showcased his talents as composer, arranger, clarinetist, and saxophonist. In 1947 he studied and played with Lennie Tristano, and in 1953 took part in the Jazz Composers Workshop sessions with Teo Macero and Charles Mingus, who raved about his talent with the clarinet. He was on Bob Chester’s big band 1942-44, and with Woody Herman’s First Herd 1944-46. John LaPorta had already lived a whole life in jazz before he arrived at Berklee in 1962.
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